Christina Rossetti’s “Goblin Market” and Anne Bronte’s The Tenant of Wildfell Hall serves to demonstrates the importance of self-effacement and self-sacrifice in Victorian England. The two main protagonist in both texts, Lizzie and Helen, self-efface themselves to be virtuous and to be a proper woman in victorian society. Lizzie effaces herself in “Goblin Market” to remain a pure woman and Helen efface herself to be the proper mother and wife to her small family. Through this self-effacement the women have become virtuous enough to attempt to sacrifice themselves to redeem their loved ones. The only issue to this self-sacrifice is it can cause much unhappiness if the fallen cannot be redeemed due to being unwilling to repent for one’s sins. …show more content…
Self-sacrifice can be, and had been, defined as: “Sacrifice of oneself or one's life; the giving up of one's life, interests, happiness, etc., in order to help others or to advance a cause” (OED Online). Self-sacrifice is a theme in both “Goblin Market” and The Tenant of Wildfell Hall. The two protagonist that both practiced self-effacement are also the characters that sacrifice themselves for the other characters in their respective texts. In “Goblin Market” Lizzie ends her self-effacement to sacrifice herself for her sister. She no longer hid herself from the goblins and faced their attack to help redeem her sister. In The Tenant of Wildfell Hall Helen’s self-sacrifice can be seen as a part of her self-effacement. To care for her husband and child she sacrifices her happiness. Therefore, self-sacrifice is apparent and preformed in different ways in the two …show more content…
Traditionally fallen women were not depicted as redeemable, “The most radical suggestion Rossetti’s poem makes is that Laura (or other fallen women) might be completely redeemable” (Rappoport 868). While for the most part Rappoport is correct that the reception of a fallen woman was surprising religions was especially important in Victorian England. Prostitutes were considered less than dirt in Victorian England. It was of the upmost importance that a woman should remain virtuous throughout life and never lower herself to having sex out of or before marriage. However, religion was very important in Victorian England. It was important that everyone attend church on a regular basis and hold themselves to the believed proper Christian standard. If a fallen woman was to suffer enough and realize the error of her ways it should then be possible for redemption. Therefore, self-sacrifice for one who deserves it was not necessarily radical in Victorian England due to strong presence of the redeeming aspects presented in the
In the eighteenth century, the process of choosing a husband and marrying was not always beneficial to the woman. A myriad of factors prevented women from marrying a man that she herself loved. Additionally, the men that women in the eighteenth century did end up with certainly had the potential to be abusive. The attitudes of Charlotte Lennox and Anna Williams toward women’s desire for male companionship, as well as the politics of sexuality, are very different. Although both Charlotte Lennox and Anna Williams express a desire for men in their poetry, Charlotte Lennox views the implications of this desire differently than Anna Williams.
The concerns of Victorian England about the status of faith and manhood have left a deep mark in the literature of the period. The Picture of Dorian Gray and Dracula are good examples of this concern. In both books there is an emphasis in the corruption of the body and of the soul as maladies that haunt the greatness of England. The aristocracy is pointed as the social strata from where this decadence will spread. These books show a population of youth that lacks the guidance of parents and are apparently deprived of fertility as a consequence of the disorientation that reigns among them. This corruption is shown in conjunction with a lack of religious faith and an excess of sin that will result in the transference of England to the forces of evil.
By the late eighteenth century, the ideological formulation of the newly reformed Nation was in transition as Americans attempted to maintain order and instill proper codes of conduct. In A Model of Christian Charity by John Winthrop we see carnal love represented as separate parts of a Puritan society, “love” being the only act capable of keeping the bonds of society rigid. This would not only be necessary for the survival of the Puritan people but as evident in “Money & Morals in America: A History” by author Patricia O’Toole, “If they [Puritans] succeeded in loving one another, Winthrop promised, God would bless them in all ways. If they turned their hearts away from heaven, they would perish.”(O’Toole 6). In later decades to come, The Coquette by Hannah Webster Forster dealt with the freedom and oppression unfettered passion and pleasure created for heiress Eliza Wharton who is ultimately left vulnerable and at the mercy of others because of of her radical choices. The central character Eliza Wharton, becomes a martyr of carnal sin and Winthrop's anti-thesis by willingly positioning herself as the juxtapose of the Puritan ideal whom regarded marriage and family life as the moral institution based upon set standards in which neither humility, poverty nor charity was as vital to either the performance or the perception of a holy life.
Ulrich shows a progression of change in the way that women’s sexuality was viewed in New England. First, she starts with a society that depended on “external rather internal controls” and where many New Englanders responded more to shame than guilt (Ulrich 96). The courts were used to punish sexual misconducts such as adultery with fines, whippings, or sometimes even death. There were certain behaviors that “respectable” women were expected to follow and “sexual misbehavior” resulted in a serious decline of a woman’s reputation from even just one neighbor calling her names such as whore or bawd (Ulrich 97-98). Because the love between a man and his wife was compared to the bond between Christ and the Church, female modesty was an important ideal. “Within marriage, sexual attraction promoted consort; outside marriage, it led to heinous sins” (Ulrich 108). This modesty was expected to be upheld even as death approached and is seen with the example of Mary Mansfield in 1681. Ulrich describes Mary to have five neck cloths tucked into her bosom and eleven caps covering her hair. “A good wife was to be physically attractive…but she was not to expose her beauty to every eye”. Hence, even as she died, Mary was required to conceal her sexuality and beauty. However, at the end of the seventeenth century and throughout the
Christina Rossetti also provides an insightful look into the problem of the “fallen woman,” and of the perception of this kind of woman, in Goblin Market. Unlike Eliot, who uses realistic characterization and carefully detailed prose, Rossetti relates her views through fantastical characters and highly energized poetry. Although they work within different genres, however, Eliot and Rossetti both challenge the stereotypical understanding of what it means for a woman to be “innocent” or “experienced.” Through the contrasting natures of sisters Laura and Lizzie,...
Astell, Mary. "A Serious Proposal To The Ladies." The Broadview Anthology of British Literature: The Restoration And The Eighteen Century. Joseph Black [et all]. Peterborough, Ontario: Broadview Press, 2006. Print. Pages 291-296.
During the Victorian Era, society had idealized expectations that all members of their culture were supposedly striving to accomplish. These conditions were partially a result of the development of middle class practices during the “industrial revolution… [which moved] men outside the home… [into] the harsh business and industrial world, [while] women were left in the relatively unvarying and sheltered environments of their homes” (Brannon 161). This division of genders created the ‘Doctrine of Two Spheres’ where men were active in the public Sphere of Influence, and women were limited to the domestic private Sphere of Influence. Both genders endured considerable pressure to conform to the idealized status of becoming either a masculine ‘English Gentleman’ or a feminine ‘True Woman’. The characteristics required women to be “passive, dependent, pure, refined, and delicate; [while] men were active, independent, coarse …strong [and intelligent]” (Brannon 162). Many children's novels utilized these gendere...
Jane Austen wrote Northanger Abbey as a satire and when the reader turns every page, it is clear that Jane Austen was making fun of the society she was living in. It’s the satire of the Gothic novel that was surrounding her at the time. What Northanger Abbey does so well in terms of satire is subvert the system of Western patriarchy by the gothic genre and questions the structure of women and nature. Like many of the tales in England of the heroine, Northanger Abbey tells the story of the daughter, who heroic acts are modesty and submission. This essay will focus on what gothic heroine meant at the time, while analyzing why Jane Austen was making fun of the meaning.
Emily Brontë’s novel Wuthering Heights, set in the countryside of England’s 1700’s, features a character named Heathcliff, who is brought into the Earnshaw family as a young boy and quickly falls into a passionate, blinding romance with the Earnshaw’s daughter, Catherine. However, Heathcliff is soon crushed by this affection when his beloved chooses the company of another man rather than his own. For the remainder of the novel he exudes a harsh, aversive attitude that remains perduring until his demise that is induced by the loss of his soulmate, and in turn the bereavement of the person to whom the entirety of his being and his very own self were bound.
The nineteenth century saw rapid development and reform across the whole of the country; with the Industrial Revolution transforming life in Britain. For working class women life was an endless struggle of passivity and labour; as soon as they were old enough they worked on farms, in factories or as servants to the middle classes (Lambert, 2009). For women in general, life was oppressive; constantly overshadowed by the male gender who were considered dominant leaders. In a Victorian household, the male was head of the family; his wife and children respected him and obeyed him without question. This critical analysis of two nineteenth century novels - Hard Times by Charles Dickens and Wuthering Heights by Emily Brontë, will discuss the representation of the two female protagonists in the context of the Victorian period and question whether they do indeed portray an endless struggle for survival and independence.
One of the roles Eliza must play is the role of a proper young woman. She is expected to behave a certain way, treat men a certain way, and be married by a certain age to a Reverend. She feels that she must do this in order to please her family and friends, “To them, of course, I sacrificed my fancy in this affair; determined that my reason should concur with theirs; and on that to risk my future happiness”(5). She is sacrificing her happiness so; therefore, she is conforming to the proper role of being a young woman in society.
In the ordered English town of Highbury in Jane Austen’s Emma, people live a well constructed life, which shapes the views of social classes in their world. Despite the fact that Emma is a nineteenth-century novel, it represents a time when women depended on economic support from men. This method is observed through the main character Emma, who spends a great deal of her time agonizing about wealth and potential power. In the novel, readers are introduced to Emma as a young prosperous woman who manages her father’s house. Since she is younger than her two sisters, she is introduced to various female characters, which influence her social development and exemplify a range of gender roles available to her. In Emma’s household women are superior to men, as her father demonstrates feminine tendencies and the women are portrayed as masculine. This could be the reason Emma prides herself in being an advocate of structuring prosperous relationships within her community. When Emma considers prosperous relationship, she begins by categories people by their power and beauty. In Emma’s mind, power and beauty is the ideal combination to developing a perfect society. In Jane Austen‘s Emma, the main character Emma uses her obsession with beauty and power to create her own utopia. Emma’s utopia reconfigures the social system so that hierarchy is defined by looks and character instead of birthrights. However, when Emma’s attempt to create her own utopia fails, Austen challenges readers to accept the existing order and structure of the early nineteenth century English society.
Religious believers in the Victorian society had amazing fervor for the word of God and believed that everything that occurred in life came from the hands of God. A good majority of the works written during the Victorian era expressed a belief that through the endurance of pain and suffering on Earth, the individual will be forever rewarded in Heaven. The Prisoner. A Fragment, by Emily Bronte is a clear demonstration of this belief as a heroic female prisoner demonstrates hope that her creator will save her after she endures her unjust punishment. The speaker in this work is a man visiting the prison, which is located in his father’s castle. He narrates the story looking back on his visit to the prison. He makes the audience aware that he never really cared nor did he pay attention to the lives that were slowly coming to an end in the crypts. He makes a comment to the jailor and is given a re...
The existence of a “dark double” abounds in many literary works of the Victorian Era. These
The Norton Anthology of English Literature: The Victorian Age: Introduction." The Norton Anthology of English Literature: The Victorian Age: Introduction. 2010. Web. 23 Feb. 2014