Elizabeth Bohls, in her study Women Travel Writers and the Language of Aesthetics, 1716-1818, argues that aesthetic theories of the eighteenth century served to support the social and political hierarchy of the time. The observer, the viewing subject - the educated, wealthy male - is defined by what is constructed as opposite and antithetical to him - the labouring class, the female, and the non-European. The language of aesthetics thus also becomes the language of social exclusion. She notes "the structuring dualisms of eighteenth-century society: polite/vulgar, man/woman, civilized/savage" (67); she continues that the "second terms are subordinated as the foils against which the aesthetic subject defines himself" (67-68).
In chapter 7 of her book, Bohls considers "Radcliffe's ambivalent obsession with aesthetics" in relation to Mysteries of Udolpho, and sees in Radcliffe's novel a critique (though a deeply divided one) of "aesthetics' patriarchal structure" (210). The question I want to pose is what does Radcliffe do for the labouring classes in Udolpho, how does she treat the lower class, another 'foil' to the construct of the (non-labouring) observer? The novel contains a number of devoted and kind servants - Annette, Theresa, Ludovico. Many kind peasants also offer their hospitality to Emily on several different occasions in her travels. In her landscapes we find idealized pastoral scenes of dancing, apparently carefree peasants (7; 64-65, for example). The picturesque impulse of ordering human figures into ornaments of a scene is clear in the novel; it is not, however, without exception. In volume I, chapter 5, Emily, Valancourt, and St Aubert come across a shepherd's family, in distress over a lost sheep; the shepherd's...
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...or, from the nest of banditti into which they somewhat naively stumbled, again through only his wit and courage. From this perspective, if there is a hero in the novel, it cannot be the largely absent Valancourt, but the steady and reliable Ludovico. While it may be a stretch to claim that Radcliffe had any intention of secretly 'glorifying' the lower class, or subverting class conventions, it seems to me the text itself offers up ambiguous evidence. She does not grant the labouring classes the privileged position of an aesthetic observer, and can even be seen as complicit with the exclusionary nature of aesthetics conventions in this regard - yet, perhaps the several contrasts between the 'real' characters (the upper-class) and their 'foils' (the servants and peasants), and one moment of near self-parody, are enough to question the surface appearances of the work.
Marxist criticism leaves society thinking that dominant classes overpower social order. However, its goal is to present ideas of changing social realities, so future generations will know all people are important and equal. During the Victorian period, a Governess was faced with contradictory burdens leaving them uneasy with status imbalance. The governess is uncomfortable with the fact that she could be similar to the servants/ghosts, because she still feels that she is above them socially. Her desire to break out of the class structure, yet her inability to do so, shows her dependence on the structure. From her first moments at Bly or the “castle of romance”, she instantly feels the conflict between her emotional...
“The Hound of the Baskervilles” demonstrated the differences between the upper class and the lower class and even between those people who were in the same class as each others at the end of the 19th century in England. Beside those differences, there were also some similarities between the two classes. In this essay, I will analyse how they are alike and different in some main aspects such as the belief in the curse, the relationship to the law, their mysterious actions, and especially the subjugation between people in the same class.
In Gustave Flaubert’s Madame Bovary, it is difficult to know what to think of Monsieur Binet and his lathe. His constant devotion to such an unrewarding pursuit would seem to act as the bourgeois backdrop to Emma Bovary’s quest for eternal passion and excitement, a polar opposite with which Emma can stand in sharp contrast. However, it turns out that Binet and his lathe have more in common with Emma and her rampant desires than what would first appear obvious. Binet’s lathe still serves as a background with which to compare Emma’s quest for love and riches, but instead of acting as a complete antithesis to everything she does, the lathe is meant to be subtly different from Emma’s quest, and therefore highlights that specific trait.
Dr. Theodore Dalrymle wrote “Life at the bottom” as a way to express his views of the English underclass. He believes their impaired ways of life, are the cause of poverty in England, “not the economy”. Those who pledged to serve and protect, on many levels, are neglecting their responsibilities, either in fear of being judged themselves or by simply turning a blind eye to continuous problems within England. No one wants to accept the reality of England’s horrendous situation. Therefore their endless battle with poverty, suffering and misery will continue in a vicious, endless, cycle.
In Silas Marner, George Eliot addresses the timeless matter of the correlation between a person’s wealth and his or her overall happiness. In the novel, the working class of Raveloe is presented in a positive light in comparison to the fairly negative representation of the squirearchy. Because of Eliot’s portrayal of the characters in the two classes, it is evident that all people have the potential to live a good and happy life - regardless of their social status.
Gray begins with his argument by explaining the roles of women and men, both in lower class families and in the noble houses, focusing on their submissive roles. "The busy housewife [plies] her evening care," minding the children until "their sire's return" from a hard day of work (lines 22-23). Gray depicts the work of a lower class male as a ploughman, working from morning until night at his useful toil, without ambition and wit...
Set in the early nineteenth century, Charlotte Bronte’s coming-of-age novel, Jane Eyre remarks upon the ill acceptance of social behaviours between various social classes in the Victorian era. When Queen Victoria ascended the throne in 1832, Britain began its transformation into a world power and the fascinating aspect of that time period is the rigid class systems between the rich and poor, which also attributed to the social and economic injustice between the classes. Throughout the novel, particularly those of the experiences of Jane Eyre, it is possible to observe how Bronte expresses her “personal” modernism in Jane Eyre. Rising from this modernism, the variable that enabled the Jane Eyre to outcompete her evolutionary rivals is passion. Indeed, passion is the hallmark of modernism, aiding the prevalence of Jane Eyre amongst the mindless followers of the upper-class, albeit whilst hiding an inherent dilemma. This dilemma is the cognitive shift in the logic of the social class system, underpinned by the misperception of social behaviours stemming from this class system. This is an examination of this shift in how society is viewed, brought about by standards set by the upper class, incorporating an analysis of why Victorian readers cannot be forgiven for holding the belief that social class defines social behaviour, and discussing the way in which Jane Eyre has disclosed the altered human attitudes, values, and beliefs about the discourse of social class and behaviour.
In this passage, the author Elizabeth Gaskells shows, through the point of view of George Wilson, a millworker, the difference between the working class and the upper high class during the 1840s in England. She criticized the upper class and sympathized the working class. Gaskell uses several specific elements such as point of view, selection of detail, dialogue, and characterization to create a social commentary.
In Flaubert’s satiric novel, the story’s apothecary is used to convey Flaubert’s views of the bourgeois. As a vehicle for Flaubert’s satire, Homais is portrayed as opportunistic and self-serving, attributes that Flaubert associated with the middle class. Homais’ obsession with social mobility leads him to commit despicable acts. His character and values are also detestable. He is self-serving, hypocritical, opportunistic, egotistical, and crooked. All these negative characteristics are used by Flaubert to represent and satirize specific aspects of middle class society. More specific issues that are addressed include Homais’ superficial knowledge, religious hypocrisy, and pretentiousness. Furthermore, his status as a secondary character suggests his significance to the satire. If Emma is meant to portray the feminine aspect of the bourgeois then Homais is undoubtedly meant to represent the masculine aspect. Flaubert wanted to ridicule and criticize the bourgeois class. By including Homais, Flaubert is able to satirize all the negative aspects of middle class society within a single novel.
Through the characters of Pride and Prejudice, Jane Austen provides readers information on the lifestyle in the 18th century. When Elizabeth visits Lady Catherine’s house with Charlotte, Lady Catherine requests for Elizabeth to play the pianoforte. Surprising to Lady Catherine, the Bennets did not emphasize in learning arts and music. Within this scene of the books, readers learn that in the late 18th century, girls focused a lot more on the arts, embroidery, and music rather than academics (cite). Yet, famous female scholars did exist in the...
...rban. The novel is classified by Hardy under the category of Novels of Ingenuity. Nevertheless, the novel is an expression of the class divisions within the society. This is supported statistically by the vector profiles of this group. This argument is again supported by Page (2000) and Widdowson (1998; 1989). They stress the idea that class awareness is a major theme in The Hand of Ethelberta.
Alfred Doolittle is not only willing to sell his daughter for five pounds but is willing to sell his own daughter’s body as if she were a prostitute. This shocks viewers, as it’s a father’s role to nurture and provide guidance for their child. Bernard Shaws characterisation of Alfred Doolittle confronts the viewer with the realities of lower class life, cementing Bernard Shaws subversive stance on traditional class stereotypes. Alfred Doolittle, however impoverished he may be, seems to be content with the mundane nature of lower class life. Despite living a tedious life of destitution at the very bottom of the socioeconomic spectrum, he is seemingly at ease with this lifestyle. This notion is delineated upon in this quote:” I’m playing straight with you. I aint pretending to be deserving. I’m undeserving; and I mean to go on being undeserving. I like it; and thats the truth.” The aim of this quote is to elucidate the reader on the lack of aspiration of the lower class. Alfred Doolittle symbolises the paucity of ambition in the lower class. This is in start contrast to Doolittle’s daughter, Eliza, who actively works o better her socioeconomic standing. The reader is positioned to see Alfred Doolittle’s stagnation as profoundly uninspired and dissenting. Bernard Shaw provides critical depictions of lower class through the characterisation of Alfred Doolittle. Challenging traditional
Madame Bovary, a novel by Gustave Flaubert, describes life in the provinces. While depicting the provincial manners, customs, codes and norms, the novel puts great emphasis on its protagonist, Emma Bovary who is a representative of a provincial woman. Concerning the fundamental typicality in Emma Bovary’s story, Flaubert points out: “My poor Bovary is no doubt suffering and weeping at this very moment in twenty French villages at once.” (Heath, 54). Yet, Emma Bovary’s story emerges as a result of her difference from the rest of the society she lives in. She is in conflict with her mediocre and tedious surroundings in respect of the responses she makes to the world she lives in. Among the three basic responses made by human beings, Emma’s response is “dreaming of an impossible absolute” while others around her “unquestionably accept things as they are” or “coldly and practically profiteer from whatever circumstances they meet.” (Fairlie, 33). However, Emma’s pursuit of ideals which leads to the imagining of passion, luxury and ecstasy prevents her from seeing the world in a realistic perspective or causes her to confuse reality and imagination with each other.
Eliot says “No sooner does a woman show that she has genius or effective talent, then she receives the tribute of being moderately praised and severely criticized (Eliot, 17). The readers see how the talents of woman are undermined in a patriarchal order but they want to do things their own way. These women have grown up in a patriarchal order and they seek to reform themselves to their own perspectives. Part of this reform was women’s education. Woman were offered an opportunity to receive their own education, which only strengthened male dominance in a male dominated society. In Prelude, Eliot writes “the offspring of a certain spiritual grandeur ill matched with the meanness of opportunity (Eliot,3). This is demonstrated in Cobbe’s writing, Life of Frances Power Cobbe as Told By Herself explains how she was required in her education to put emphasis on things that men look for in a future spouse. Cobbe describes “Everything was taught us in the inverse ration of its true importance. At the bottom of the scale were Moral and Religion, and at the top were Music and Dancing” (Cobbe,1522-1524). This shows how women want to be themselves especially in their respect to their education. This is interesting in Eliot’s writing because she argues that “silly novels” challenge the basis of women’s education. The readers see how education, societal roles, and gender identification influence the dominate
Class is a complex term, in use since the late eighteenth century, and employed in many different ways” (Victorian Web). Social class arises from different individuals-some rich, others poor, and others a combination of both. In proving one’s social class, the upper class would have to show their possessions to other individuals to show there superiority, but the middle classes would have to be industrious workers in order to provide for their families. Pertaining to the rise of social class through industry and possessions in the Victorian era, Dickens’ evidently shows the motif of the rise in social class through the characters of Great Expectations.