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The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination
"And the lady of the house was seen only as she appears in each room, according to the nature of the lord of the room. None saw the whole of her, none but herself. For the light which she was was both her mirror and her body. None could tell the whole of her, none but herself" (Laura Riding qtd. by Gilbert & Gubar, 3).
Beginning Gibert and Gubar’s piece about the position of female writers during the nineteenth century, this passage conjures up images of women as transient forms, bodiless and indefinite. It seems such a being could never possess enough agency to pick up a pen and write herself into history. Still, this woman, however incomprehensible by others, has the ability to know herself. This chapter of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, titled “The Queen’s Looking Glass,” discusses how the external, and particularly male, representations of a woman can affect her so much that the image she sees in the mirror is no longer her own. Thus, female writers are left with a problem. As Gibert and Gubar state, “the woman writer’s self-contemplation may be said to have begun with a searching glance into the mirror of the male-inscribed literary text. There she would see at first only those eternal lineaments fixed on her like a mask…” (Gilbert & Gubar, 15). In Charlotte Brontë’s Villette, the narrator and heroine Lucy Snowe is faced with a great deal of “reflections” which could influence her self-image and become detrimental to her writing. However, she is aware that the mirrors she finds, whether the literal mirror of the looking glass or her reflection in other characters’ ...
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... authors insisted that they are” (43). However, instead of doing “fiery and suicidal tarantellas out of the looking glass,” (44) Lucy Snowe decides to ignore the inaccurate representations in the mirrors around her and focus her energies toward constructing a mirror of her own – the “circular mirror of crystal” she is always searching for but that can only be found in the text itself. The line Gilbert and Gubar apply to Brontë and other successful women writers is also valid for Lucy. “The old silent dance of death became a dance of triumph, a dance into speech, a dance of authority” (44).
Works Cited
Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale UP, 1979.
O’Dea, Gregory. “Narrator and Reader in Charlotte Brontë’s Villette.” South Atlantic Review 53.1 (1988): 41-57.
Both Vanity Fair and A Room of One’s Own explore and challenge the idea that women are incapable of creating a name and a living for themselves, thus are completely dependent on a masculine figure to provide meaning and purpose to their lives. Thackeray, having published Vanity Fair in 1848, conforms to the widely accepted idea that women lack independence when he makes a note on Ms Pinkerton and remarks “the Lexicographer’s name was always on the lips of the majestic woman… [He] was the cause of her reputation and her fortune.” The way that a man’s name was metaphorically “always on the lips of the majestic woman” and how he was the source of “her reputation and her fortune” expresses this idea, especially through Thackeray’s skilful use of a sanguine tone to communicate that this cultural value, or rather inequality, was not thought of as out of the ordinary. From viewing this in a current light and modernised perspective...
Throughout history, women have struggled with, and fought against oppression. They have been held back and weighed down by the sexist ideas of a male dominated society which has controlled cultural, economic and political ideas and structure. During the mid-1800’s to early 1900’s women became more vocal and rebuked sexism and the role that had been defined for them. Fighting with the powerful written word, women sought a voice, equality amongst men and an identity outside of their family. In many literary writings, especially by women, during the mid-1800’s to early 1900’s, we see symbols of oppression and the search for gender equality in society. Writing based on their own experiences, had it not been for the works of Susan Glaspell, Kate Chopin, and similar feminist authors of their time, we may not have seen a reform movement to improve gender roles in a culture in which women had been overshadowed by men.
Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: the Woman Writer and the Nineteenth-century Literary Imagination. New Haven: Yale UP, 2000. Print.
Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale University Press, 1979)
Bronte, Charlotte. The Letters of Charlotte Bronte: 1829-1847. Ed. Margaret Smith. 2 vols. New York: Oxford UP, 1995-2000.
Gilbert, Susan, and Sandra Gubar. The Madwoman in the Attic: the Woman Writer and the Nineteenth Century Literary Imagination. New Haven, Conn: Yale University Press, 1979.
Gilbert, Sandra M. and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale University Press, 1979. Print.
Gilbert, S., Gubar, S. (2000) The Madwoman in the Attic: The Woman Writer and Nineteenth Century Literary Imagination Yale University Press
To look at Stoker's female characters, one has to take into account the Victorian ideas of gender performance. An age named after its long-reigning female ruler Queen Victoria, the Victorian period was anything but a women's world (Abrams 1). Queen Victoria may have been the figurehead of the nation and the era, but that did not mean that the rest of the public sphere was a welcoming place for women in general (Abrams 1). A woman's place was in the domestic sphere (Abrams 3). She was the so-called angel of the house as Sandra M. Gilbert and Susan Gubar point out in their work The Madwoman in the Attic: The Woman Writer and the
Lodge, Scott. "Fire and Eyre: Charlotte Bronte's War of Earthly Elements." The Brontes: A Collection of Critical Essays. Ed. Ian Gregor. Englewood Cliffs, NJ: Prentice Hall, 1970. 110-36.
When Charlotte Bronte created Lucy Snowe’s character in Villette, she made her as a woman that transgressed society’s deemed role in the Victorian Era (Peel, 231). Bronte was a women who personally endured and witnessed the lack of rights and equalities offered women in the Victorian Era and by creating Lucy Snowe’s “transgressive” character she displayed her thoughts and rebellions against society’s standards. Women novelist were not very common in this time period due to the belief by men that it was not right. “The female writer posed a threat to men who described women as weak and submissive creatures” (ARAS, 499). Instead it was thought that women should write poems only, and because of this most women novelist used a “male pseudonym” for their books so that they did not receive ridicule and criticism (ARAS, 499). Charlotte Bronte did not let this fear stop her from expressing her beliefs about the mistreatment and societal abuse of women by men, but instead created Villette which transcended the idea that women were dependent to men for their own happiness.
There is no doubt that the literary written by men and women is different. One source of difference is the sex. A woman is born a woman in the same sense as a man is born a man. Certainly one source of difference is biological, by virtue of which we are male and female. “A woman´s writing is always femenine” says Virginia Woolf
In an essay on feminist criticism, Linda Peterson of Yale University explains how literature can "reflect and shape the attitudes that have held women back" (330). From the viewpoint of a feminist critic, "The Lady of Shalott" provides its reader with an analysis of the Victorian woman's conflict between her place in the interior, domestic role of society and her desire to break into the exterior, public sphere which generally had been the domain of men. Read as a commentary on women's roles in Victorian society, "The Lady of Shalott" may be interpreted in different ways. Thus, the speaker's commentary is ambiguous: Does he seek to reinforce the institution of patriarchal society as he "punishes" the Lady with her death for her venture into the public world of men, or does he sympathize with her yearnings for a more colorful, active life? Close reading reveals more than one possible answer to this question, but the overriding theme seems sympathetic to the Lady. By applying "the feminist critique" (Peterson 333-334) to Tennyson's famous poem, one may begin to understand how "The Lady of Shalott" not only analyzes, but actually critiques the attitudes that held women back and, in the end, makes a hopeful, less patriarchal statement about the place of women in Victorian society.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
Throughout American Literature, women have been depicted in many different ways. The portrayal of women in American Literature is often influenced by an author's personal experience or a frequent societal stereotype of women and their position. Often times, male authors interpret society’s views of women in a completely different nature than a female author would. While F. Scott Fitzgerald may represent his main female character as a victim in the 1920’s, Zora Neale Hurston portrays hers as a strong, free-spirited, and independent woman only a decade later in the 1930’s.