Essay \"To what extent does the presentation of female characters in two novels challenge or question the positions that women are given in society?\" - grade 1st PDF

Preview

Summary

To what extent does the presentation of female characters in two novels challenge or question the positions that women are given in society?...

Description

To what extent does the presentation of female characters in two novels challenge or question the positions that women are given in society?

Historically and socially, women have been victims of the notion that as a sex, they exist as the dependent and submissive party. However, in the two novels I have elected to explore, both female protagonists can be seen to challenge the position of women in society, albeit to different extents. In Brontë’s novel Jane Eyre, the protagonist can be seen as a character whose firm belief in equality ‘threatens to take her out of the nineteenth-century feminine role of subservience.’1 This idea of Jane as a threat indicates that she is indeed a female character who challenges convention; those deemed a threat to the norm were shunned and disliked, and such is the treatment that the protagonist experiences from a young age. By contrast, Clarissa Dalloway of Virginia Woolf’s Mrs Dalloway is arguably only internally defiant towards tradition. Her feelings of intense love towards another woman present ideas beyond heterosexuality, yet her resolution to marry Richard Dalloway suggests the suffocation and expectation of society that Woolf’s protagonist feels much more brutally than Brontë’s; she ‘accepts the limitation’2 imposed upon her and marries a man to ‘become respectable.3’ Thus, it is my thesis that in allowing herself to choose a life with a man she truly loves, Charlotte Brontë’s Jane Eyre overtly questions the typical role of the Victorian woman and rejects the image of women as meek creatures who behave according to the status quo. Woolf’s Clarissa Dalloway questions the position of women to a lesser extent; she feels with great burden and suppression the pressures of society at the expense of her true outlook. The theme of suffering and hardship can be explored in both novels. One perception of the stereotypical woman is that of a sheltered, ignorant creature who has little experience

1John G. Peters, ‘Inside and Outside: “Jane Eyre” and Marginalization through Labeling’, Studies in the Novel, Vol. 28, No. 1 (University of North Texas, 1996) p.63 2 Emily Jensen, ‘Clarissa Dalloway’s Respectable Suicide’, in Virginia Woolf: A Feminist Slant, ed. by Jane Marcus (Nebraska: University of Nebraska Press, 1983), pp. 162-180 (p.172) 3 Ibid. p.162

of the world beyond the trivialities of her everyday life. Brontë’s portrayal of her female protagonist is significantly defiant of this allegation. Jane is a character shown to have endured great suffering throughout her young life. Whilst it is true that, geographically, she has experienced little of the world, it would be disputable to say that her life had been a sheltered one. Brontë demonstrates the way in which she is strongly disliked by other characters due to her differences. Hated by her aunt for being a poor orphan, she is apparently not ‘sociable’ (JE p.7) or ‘handsome’ (JE p.16) and these dissimilarities from Mrs Reed’s own children represent how Jane is set apart from expectation very early in the novel. Furthermore, it is suggested that, even as a young child, she defies the conventional idea of an acceptable little girl. Jane does not have ‘pink cheeks and golden curls’ (JE p.15) thus it is initially clear that she is also a character who defies images of women as pretty objects. As a child, Jane Eyre is not interested in what would have been seen as suitable or typical for females. The solace and happiness that she finds through books contributes to her nonconforming nature. The idea of a woman occupying herself with books is seen as unusual by the Reed family, as they despise her for her differences. The quote ‘You have no business to take our books’ (JE. p.10) has implications that Jane, as a child and quite possibly as a female, is not worthy of acquiring information. However, Brontë uses Jane’s love of learning to once again demonstrate that she is not happy to settle with the position of the ignorant, sheltered female. At a young age she reads of places that she would never physically be able to experience such as Siberia and Iceland. The books represent Jane’s defiance of boundaries. Whilst she is physically trapped at Gateshead, she uses knowledge and books to free and better herself. The verbal attack on her abuser John Reed: ‘you are like the Roman emperors!’ (JE, p.11) is a striking example of the protagonist using knowledge to heighten her position. The idea of a poor, lonely orphaned girl acquiring information beyond her years and boundaries is undeniably a powerful image of Jane Eyre rejecting firmly the limitations of her

pitiful position. By contrast to Clarissa Dalloway, of whom it is admitted ‘ask her what the equator was, and she did not know’ (MD, p.107) there is remarkable evidence that Woolf’s protagonist has allowed limitations to restrict her. Despite being privileged, she is entirely entrapped by the life she has found herself living. This, when compared with Jane Eyre and her hopeless situation, is a very disempowering image of Clarissa Dalloway, a character who had more opportunity to better herself and explore other aspects of life; a character who instead settled as an oppressed wife of a wealthy MP. Upon further exploration of Jane Eyre, the narrative style in which Brontë writes is also indicative of the protagonist’s atypical nature. Written in first person, Jane Eyre’s autobiographical account of her life is entirely her own, thus allowing the expression of her innermost thoughts. She describes her young life as a ‘mental battle’ (JE p.16), and openly declares that as a child, she was ‘miserable.’ (JE p.23) Such expressions of passion further challenge the expectations of women. Sherry has described the protagonist as ‘passionate and imaginative’4 and a character with ‘strong characteristics.’5 For the era, these were unusual traits for females, often viewed as quiet and docile. These events of self-expression once again suggest Jane’s recognition that her state is not one she is happy to settle with; she is not satisfied with simply suffering in silence. Comparatively, Clarissa Dalloway has not endured hardship in the same way. Her life could be considered trivial; Jensen even claiming it is full of ‘corruption and lies’6, this could possibly be due to the life she has denied herself. Disallowing herself a life with Sally Seton could be seen as a way to escape this ‘interruption’7 to her life as an ordinary woman. Unlike Jane Eyre, Clarissa sees suffering silently and suppressing her feelings as ‘all that is

4 Norman Sherry, Charlotte and Emily Brontë (London: Evans Brothers Limited, 1969) p.55 5 Ibid. p.55 6Emily Jensen, ‘Clarissa Dalloway’s Respectable Suicide’, in Virginia Woolf: A Feminist Slant, ed. by Jane Marcus (Nebraska: University of Nebraska Press, 1983), pp. 162-180 (p.167) 7 Ibid. p.162

possible’8 she sees no alternative other than participating ‘in the role laid out for her.’9 These notions put forward by Jensen explore the idea of Clarissa as a character who, essentially, submits herself to societal conventions in terms of her place as a woman. All in all, the life that she lives is arguably filled with trivial and typically ‘feminine’ activities such as buying flowers, giving parties and fixing dresses; she lives the life of ‘the perfect hostess’ (MD, p.5). However, Woolf strongly indicates throughout the novel that this is not the life her protagonist would settle for in an ideal world. The style of free indirect discourse in which Woolf writes her novel allows the reader access of the character’s internal thoughts. However, they are not always distinguishable from the narrator’s own comments, therefore Clarissa’s voice cannot entirely be her own. Nevertheless, it is openly stated that Clarissa’s feelings for Sally were ones of ‘purity…integrity.’ (MD, p.28) These female characters spoke of marriage as a ‘catastrophe’ (MD, p.29). Sally herself is presented as a defiant, unconventional woman; her treatment of flowers symbolises her wish to be different and unconventional as she ‘cut their heads off…made them swim on the top of water in bowls.’ (MD, p.28) The act of cutting could represent breaking free from social mores; the floating of the heads on top of the water as opposed to underneath it shows opposition to the suffocation and possible drowning sensation that she believes is to be experienced in marriage. Yet, in the present day, Clarissa Dalloway finds herself sleeping in the attic of her house at the advice of her husband, the ‘narrow’ (MD, p.26) bed in which she sleeps is symbolic of her repressed, restricted life. Her role as Richard Dalloway’s wife has been defined by Jensen as ‘suicide.’10 Her decision to marry a man and its consequences could represent Woolf’s own ideas about matrimony. As his wife, Clarissa lives not for herself, but for others. Her role is to give parties and bear children; ‘to enhance Richard’s position’11 all at the expense of her own feelings and ideals.

8 Ibid. p.173 9 Ibid. p.172 10 Ibid. p.178 11 Ibid. p.167

In spite of the recognition that her life is unfulfilled, that she lives ‘to make people think this or that’ (MD, p.7) it is evident that Clarissa chooses to conform to expectations despite knowing that this is not the life she wanted. In this sense, Clarissa is less of a challenge to the position given to women in society. Regardless of the fact that she was once opposed to marriage, a young woman in love with another woman, this ‘earlier self’12 contrasts and emphasises the crippling oppression of societal values to which Clarissa ultimately yields. Woolf’s protagonist allows the dictation of society to triumph, not the dictation of her own mind, thus conforming much more to the idea of women as submissive. Brontë’s presentation of Jane’s attitude towards marriage presents the protagonist’s atypical views on the matter. In the Victorian era, the idea of marrying for love was of little consequence; matrimony was a case of finding stability. However, the love between Jane and Rochester is indisputably not built on this basis. Both Jane and Rochester declare themselves as equals; Rochester refers to Jane as his ‘second self’ (JE, p.254) and Jane’s passionate outpouring on the eve of her departure is a bold statement that she cannot, and will not, suppress her feelings of grief at the thought of being parted from Rochester. She entirely disregards ‘custom and conventionalities’ (JE, p.253) and addresses his ‘spirit.’ (JE, p.253), implying a connection far beyond matters of wealth or tradition. Whilst it is evident that Rochester can be seen as a man who, in some ways ‘believes in the traditional role of women in the nineteenth century’13, the protagonist is determined that she be treated no differently. Rochester desires to express his love and adoration by ‘separating her from other people and lifting her onto a pedestal’14 however Jane insists that: ‘I am your plain, Quakerish governess.’ (JE, p.259) Rochester wishes to attire her in ‘satin and lace’ (JE, p.259). However, these archetypally feminine objects do not please Jane Eyre, as is evident from the quote: 12 Susan Dick, Virginia Woolf (Great Britain: Hodder and Arnold,1989) p.36 13 John G. Peters, ‘Inside and Outside: “Jane Eyre” and Marginalization through Labeling’, Studies in the Novel, Vol. 28, No. 1 (University of North Texas, 1996) p.63 14 Ibid. p.63

‘Don’t address me as if I were a beauty’ (JE, p.259). She does not wish to be worshipped or objectified, but instead marry Rochester as his equal and be loved for who she is. This statement puts forward a challenge to the stereotypical position of women. Jane Eyre cares nothing for beautiful, material objects that were often seen to please and excite women. The protagonist does not want to be seen as anything ‘celestial’ (JE, p.260); she wishes to be neither ‘sub-human’15 nor ‘superhuman’16 but be accepted for her own character. This idea entirely defies the position of women as the inferior, submissive party; it is a bold declaration that women are entirely equal to men; they should not need to be prettified and deified in order to be accepted. The fact that she is able to challenge Rochester and his ideas speaks for itself; she is far from being presented as the submissive party. By stark contrast, Clarissa Dalloway is surrounded by flowers and ornaments of beauty in her tasteful 1920s Westminster house. The ‘crystal dolphin’ and ‘clean silver’ (MD, p.32) represent wealth but also materialism; they are put on display; ‘All was for the party.’ (MD, p.32) It is evident that Woolf’s protagonist must give off an impression of taste and wealth at the party she is to give; it is important to play the part of a fashionable, respectable hostess. However, they are only items of exhibition. Clarissa is not attached to them just as she is arguably not attached to the life she leads. Bowlby points out that Clarissa is ‘frequently in different times and places’17 and this is presented through Woolf’s non-linear structure. By writing in the stream of consciousness style, the fragmented nature of Clarissa’s mind is captured. She carries out her duties, but they are ‘all for him’ (MD, p.67) and there is a sense of detachment as Clarissa reminisces about the past whilst carrying out mundane activities, demonstrated in the quote ‘But this question of love (she thought, putting away her coat), this falling in love with women.’ (MD, p.27). The protagonist does not live for herself

15 Ibid. p.63 16 Ibid. p.63 17 Rachel Bowlby, Virginia Woolf: Feminist Destinations (Oxford: Basil Blackwell Ltd,1988) p.93

and disregards her true feelings. She serves her husband and plays the part of a stereotypical wife. She is arguably less of a challenge to the traditional role of women. Clarissa’s choices to live a life deemed ‘respectable’ in society can once again be contrasted with the presentation of Brontë’s protagonist when it comes to St. John River’s marriage proposal to Jane. Her rejection of his offer is once again a demonstration of her defiance to the position of women. The protagonist states: ‘I will not be regarded in the light of mere money-speculation.’ (JE, p.388) For Jane, it is not enough to marry for respectability or convenience. She could not bear to merely play the part of someone’s wife, she could not play the part of a missionary’s wife to the ‘solemn’ (JE, p.398) St. John, a man who would force Jane to ‘keep the fire of my nature continually low’ (jep408). Brontë’s protagonist is not content to comply with the dictations and restrictions of society To conclude, both Brontë and Woolf’s female protagonists have elements of the unconventional about them, however it is the presentation of Jane Eyre, a character who overtly asserts her true feelings throughout the novel that allows us to consider her a significant challenge to the conventional position of women. Unlike Clarissa, Jane does not surrender to the dictation of tradition; she thinks for herself and pushes against the limits imposed upon her. Woolf’s protagonist is unconventional with regards to her initial views of marriage and her intense bond with another woman (an unusual concept for the era). However, she is ultimately suffocated by societal conventions; as Jensen puts it, her ‘respectable destruction of the self in the interests of the other’18 presents her as a character who fulfils the stereotype of the submissive female, whereas Jane Eyre defies this concept much more fervently.

18 Emily Jensen, ‘Clarissa Dalloway’s Respectable Suicide’, in Virginia Woolf: A Feminist Slant, ed. by Jane Marcus (Nebraska: University of Nebraska Press, 1983), pp. 162-180 (p.178)

Bibliography Primary: Brontë, Charlotte, Jane Eyre (Oxford: Oxford University Press, 1969) Woolf, Virginia, Mrs Dalloway (London: Vintage, 2004) Secondary: Bowlby, Rachel, Virginia Woolf: Feminist Destinations (Oxford: Basil Blackwell Ltd, 1988) Dick, Susan, Virginia Woolf (Great Britain: Hodder and Arnold, 1989) Jensen, Emily, ‘Clarissa Dalloway’s Respectable Suicide’, in Virginia Woolf: A Feminist Slant, ed. by Jane Marcus (Nebraska: University of Nebraska Press, 1983)

Peters, John G., ‘Inside and Out: “Jane Eyre” and Marginalization through Labeling’ Studies in the Novel, 1 (1996), 57-75

Pykett, Lyn, The ‘Improper’ Feminine: the women’s sensation novel and the new woman writing (London: Routledge, 1992)

Sherry, Norman, Charlotte and Emily Brontë (London: Evans Brother Limited, 1969)...