Tag: Gender

Hartright’s Desire for Purity and Sex

Hartright’s narration between pages 64 and 65 of the growing attraction between him and Miss Fairlie demonstrates the pull between sexual desires and desires for female purity. Although Hartright repeats certain phrases to mirror his and Miss Fairlie’s movements, moments of halfway connections also characterize the passage. Hartright says that his lover’s charms “…can purify and subdue the heart of man” (Collins 64). He contextualizes her traits through the effect on his traits; he admires her for her ability to distract him from his character flaws. Instead of specifying that the “man” described him, Hartright broadens the scope to include any man. This enlarges her powers to “subdue the heart,” making her the paragon of purity who can inherently “fix” any man. 

Bearing the precedent of Hartright’s vision of a pure Miss Fairlie, their subsequent moments of physical sexual yearning stall at several points. Hartright writes “Not a day passed…in which my hand was not close to Miss Fairlie’s; my cheek…almost touching hers” (Collins 64). The pair purposefully do not contact skin to skin, but Hartright emphasizes the thrill he receives from the teasing closeness. Besides the references to his cheek, and he also notes “…the perfume of her hair, and the warm fragrance of her breath” (Collins 65). These references to hair, cheek, and breath all encircle a key feature on her face that Hartright fails to mention: her lips or mouth. Although Hartright arrives close to this feature when describing her breath, he refuses to focus on the most sensual part of a woman’s body, a part that has been hallowed in countless romantic works of prose and poetry. Even in a scene rife with sensual details, the lack of references to lips or mouth stands as a gaping hole. Obviously, Hartright would have noticed her mouth, but then made the conscious choice not to write it. Hartright enjoys these moments of halfway connection because they preserve his vision of her purity; having sex, even kissing would break the imagined barrier that separates Miss Fairlie from other, more promiscuous women. 

However, Miss Fairlie shares Hartirght’s affection, and the pair demonstrate their affection by mirroring each other’s actions. He describes the scene by writing “…at one time bending over her…to feel her bending over me, bending so close to see what I was all about…” (Collins 65). He uses the same word choice to describe the same movement, as if the two lovers had become intertwined into one. Repeating the same phrase three times causes a building sense of closeness, with every iteration increasing the number of times that they meet and even increasing how close together the bend brings the two. “… to see what I was all about….” presents a possible moment of innuendo. Its vagueness regarding what she looks at could point a look at his body. 

 

Madman with a Cleaver: Women and Mental Illness in Victorian (and Modern) Culture

 

Women with agency are hard to control, and women who can’t be controlled are dangerous to Victorian ideals. We’ve talked about this in class. Heck, we’ve talked about similar ideas outside of class, since this concept does, to a certain degree, apply to our own culture. Women with agency are hard to control, and that frightens people in power. Even more threatening are people, especially women, with mental illnesses. The mentally ill are seen as difficult, sometimes impossible to control. Even in modern times, we are often written off as erratic, a view that is used to diminish (or at least hide) our role in society and to excuse an unhealthy and unjustified fear of us.

 

Anne Catherick may or may not have been mentally ill when she was forced into an asylum, but her behavior upon escaping certainly defies any expectations one might have of a proper Victorian woman. As Sr. Percival’s lawyer, Mr. Merriman, puts it, “A dangerous woman to be at large, Mr. Gilmore; nobody knows what she may do next” (154). And he’s right—nobody does! Anne Catherick remains a mystery thus far in the novel, but the danger she poses to ideas of what a woman should be in her society is so strong that it cannot be shrouded, not even by the aura of uncertainty that surrounds her and her past.

 

The portrayal of Anne Catherick as (potentially) mentally ill reflects Victorian and modern views on mental illness, views that I have more or less covered. Anne’s behavior is unpredictable, which makes her impossible to control. Furthermore, she has been successful in evading Sir. Percival’s reach, signifying escape from a social hierarchy governed by class, gender, and money (three things that place Sir. Percival in power). Because Anne is a woman, and a lower class woman at that, her escape from a hierarchy that would deny her even the most basic power (power over the self) is a threatening one. If more women were like Anne, they could completely upend Victorian society, and where would Sir. Percival be then?

 

By interpreting Anne as mentally ill, her society minimizes her power as an autonomous woman while also stigmatizing her and excusing her mistreatment. And to be completely honest, this is not solely a Victorian issue. Stigma around mental illness remains a huge problem, and that stigma is sometimes co-opted in order to dismiss women. In modern America, mental illness is often talked about in the context of violence, suggesting that mentally ill people are more likely than people who are not mentally ill to be violent (they aren’t: http://www.apa.org/news/press/releases/2014/04/mental-illness-crime.aspx). Take today’s trending topics on Facebook, which actually included the phrase “Madman with a Cleaver.” How does that not strengthen the association between mental illness and danger? On a less sensational level, I suspect that most of us have heard an outspoken woman called “crazy” at one point or another (some of us have even been that woman). What does it say about our society that women who demonstrate power still risk being dismissed as members of an even more marginalized group?

 

The Woman in White is a product of Victorian society, but it’s hard not to notice its modern connections. Regardless of whether or not Anne Catherick is actually mentally ill, her confinement to an asylum and Mr. Merriman’s later comments both reflect fears of autonomous women and unpredictability. These fears continue to infect in our own society, and while blame can only be placed on us for continuing to promote them, it is interesting to look at their earlier manifestations in Victorian literature.

Walter’s First Encounter With Laura and Marian- Gender, Whiteness, and Class

As with most readings of gender, it is important to look at it with an intersectional lens- one that acknowledges how different identities interact to form statures of privilege. I believe that developing a deeper understanding of the way in which Walter describes women in this novel can shed light upon Collins’ social commentary on gender, class, and race. When Walter first meets Marian, he says, “She left the window- and I said to myself, The lady is dark. She moved forward a few steps- and I said to myself, The lady is young. She approached nearer-and I said to myself, The lady is ugly!” (p.34). Looking at the syntax of these few sentences shows several interruptions from commas and hyphens, making every phrase short and abrupt. These short, abrupt sentences give the reader an unflattering feeling as they meet Marian with Walter, one that is unsettling. Just as he is initially confused and skeptical, as is the reader who feels Walter’s hesitation through the syntax. Walter continues to describe Marian as having a complexion that was, “almost swarthy,” and ,”the dark brown on her upper lip was almost a mustache, She had a large, firm, masculine mouth and jaw; prominent, piercing, resolute brown eyes; and thick, coal-black hair, growing unusually low down on her forehead. Her expression….appeared, while she was silent, to be altogether wanting in those feminine attractions of gentleness and pliability, without which the beauty of the handsomest woman alive is incomplete,” (p.35).  The last sentence of this quote is worth noting as it explicitly states what a woman needs to be considered beautiful; gentleness and pliability. There is an emphasis in this description on both gender and race as Marian is described as having very masculine, strong, dark features. This contrasts the very feminine women Walter meets throughout the novel, especially Walter’s love interest, Laura, who is described as, “fair and pretty,” (p.37). Later, Walter describes her with similar language, saying that she is a, “light, youthful figure…with a little straw hat of the natural colour, plainly and sparingly tripped with ribbon to match the gown, covers her head, and throws its soft pearly shadow over the upper part of her face. Her hair is so faint and a pale brown,” (p.51). It was fascinating for me to read this description of Laura, as Walter is so clearly infatuated with her, but the feature that makes him so attracted to her is her inherent whiteness. This, along with her stereotypical femininity that portrays her as weak, are almost exclusively what Walter is attracted to. The description of Laura and Marian contrast drastically because of two dichotomies: masculine vs. feminine and dark vs. light. The diction Collins uses here seems very deliberate to me, in that the author seems to be explicitly showing Walter’s inherent biases. The words “light,” “fair,” “pale,” “faint,” as I see it, are Collins’ way of portraying the standard of beauty for women in the Victorian Period. I believe that I need to read more of the book to better understand Collins’ social commentary, but for now, it is clear to me that Collins is setting up a reality of modern society in which beauty is equated with whiteness and weakness. This standard excludes women like Marian, who are intelligent, kind, and interesting. Making Marian such a likable character yet “unattractive” pushes me to believe that Collins is in fact critiquing a world in which a woman’s value is based upon her beauty. However, it troubles me that there are no women in the novel that are both attractive and intelligent.