What the deuce?!

I OED'd the term "deuce" in the sense that Pesca uses it in The Woman in White.

"The personification or spirit of mischief, the devil. Originally, in exclamatory and interjectional phrases; often as a mere expression of impatience or emphasis"

So maybe this is more like saying "WTH"...?

I can't help but picture Stewie Griffin from Family Guy every time I read this phrase :)

[Victorian Literature]

Clock References in The Woman in White

This is really for my own personal benefit for when I write my research paper. I've noted every clock/watch reference and control reference that seems to be important or useful.

"It was, by my watch, nearly an hour and a half from the time of our leaving the station before I heard the sound of the sea in the distance..." (30).

"A little before nine o'clock, I descended to the ground-floor of the house" (31).

"As the clock on the mantelpiece struck eleven, Sir Percival knocked at the door, and came in" (168).

"The question of time in our question - and trust me, Laura, to take a woman's full advantage of it" (183).

"I hear the croaking of frogs, faint and far off; and the echoes of the great clock hum in the airless calm, long after the strokes have ceased" (204).

"Sir Percival hesitated, and looked at his watch" (252).

[referring to the Count]"He sat by the piano, with his watch-chain resting in folds, like a golden serpent, on the seagreen protuberance of his waistcoat" (291).

"The clock in the turret struck the quarter to twelve as they settled themselves in their charis" (328).

[the count speaking - control]"Human ingenuity, my friend, has hiterto only discovered two ways in which a man can manager a woman" (329).

"The clock struck the quarter after one, when I laid my hands on the window-still of my own room" (340).

"Catherick has found a lot of lace handkerchiefs, and two fine rings, and a new gold watch and chain, hid away in his wife's drawer - things that nobody but a born lady ought ever to have - and his wife won't say how she came by them" (478).

[spoken by Marian]"My own knowledge of Sir Percival's obstinacy and impatience of the count's control" (491).

"These precautions enabled the coroner and jury to settle the question of identity, and to confirm the correctness of the servant's assertion; the evidence offered by competent witnesses, and by the discovery of certain facts, being subsequently strengthened by an examination of the dead man's watch. The crest and the name of Sir Percival Glyde were engraved inside it" (534).

[From Mrs. Catherick's Narrative]"And I had not got a gold watch and chain - which was another still better. And he had promised me one from London, only the day before" (542).

"A more scrupulous woman than I was - a woman who had not set her heart on a gold watch and chain - would have found some excuses for him" (544).

"He gave me my watch and chain, and spared no expense in buying them; both were of superior workmanship, and very expensive. I have got them still - the watch goes beautifully" (545).

[Back to Hartright's Narrative]"I looked at my watch: it was ten o'clock" (593).

"Your letter is received. If I don't see you before the time you mention, I will break the seal when the clock strikes" (597).


That's everything I noted throughout my reading :)




[Victorian Literature]

The Woman in White

I finished reading the woman in white yesterday. If you have not finished reading the novel, please don't read on!!

-----------------

I just have to say I absolutely loved this novel!

I was not expecting the plot twists at all, but I really liked them. I think towards the end Collins took a more political (?) turn. There are some things I wished would have turned out differently. I guess "sequels" weren't very popular in Victorian Literature, because I think Collins could have continued this narrative if he hadn't have tied up a lot of the loose ends with deaths.

There are some unanswered questions that remain, however.

Who was Anne Cathericks father? I don't believe it was Mr. Catherick. I know our narrator alluded to the possibility of Laura and Anne sharing the same father, which seems most probable, but he never really knew.

Maybe this is answered to everyone else, maybe I missed it, but why exactly did the Count decided to swap the identities of the two girls? I don't really understand why Anne had to die and Laura had to live in the asylum until Marian rescued her. I felt that was left open.

Also, what is the brotherhood that Pesca and the Count belong to? What do they do? I'm so curious about secret societies and things of the sort :)

I really want to read this book again. I feel like once you know what happens then you can find hints of plot plans earlier in the novel. It's just really exciting! Eh, I'm such a dork. :)





[Victorian Literature]

Woman in White - Spoiler Alert!

I just finished reading the second epoch! If you haven't gotten that far please stop reading :)

-----


Oh wow!

When I got to the end of Marian's narrative, I was rather hopeful that she and Laura would be able to use the information to their advantage. But of course Fosco found the diary and found out EVERYTHING! I could not believe this. I found myself screaming out "NOoooo!!"

Then when Laura went away, I knew everything had to go downhill from there. Come to find out that things were worse than I thought. She was tricked to leave. How could Collins give such suspense to his readers?

But then, Laura's death! At that point I felt hopeless...that there was no point to read on. And yet, the novel still had 200 more pages to go. Maybe there was more!

Finally when I reached the end of the epoch it all made sense. (Or at least I think). Laura sent Anne Catherick in her place! But how?!!

Thats all, I must go read more!

I hope you are all enjoying this as much as I am!





[Victorian Literature]

Victorian Science in Context

I borrowed a book from the library titled Victorian Science in Context. After looking through it I've realized it may not be as helpful for me as I originally thought. So...If anyone is looking for a great source, I've listed all of the articles that are in the book. I'll probably return it to the library after spring break :)

Call No.: Q 127 .G4 V45

Defining Knowledge: An Introduction

The Construction of Orthodoxies and Heterodoxies in the Early Victorian Life Sciences

The Probably and the Possible in Early Victorian England

Victorian Economics and the Science of Mind

Biology and Politics: Defining the Boundaries

Redrawing the Boundaries: Darwinian Science and Victorian Women Intellectuals

Satire and Science in Victorian Culture

Ordering Nature: Revisioning Victorian Science Culture

"The Voices of Nature": Popularizing Victorian Science

Science and the Secularization of Victorian Images of Race

Elegant Recreations? Configuring Science Writing for Women

Strange New Worlds of Space and Time: Late Victorian Science and Science Fiction

Practicing Science: An Introduction

Wallace's Malthusian Moment: The Common Context Revisited

Doing Science in a Global Empire: Cable Telegraphy and Electrical Physics in Victorian Britain

Zoological Nomenclature and the Empire of Victorian Science

Remains of the Day: Early Victorians in the Field

Photography as Witness, Detective, and Impostor: Visual Representation in Victorian Science

Instrumentation and Interpretation: Managing and Representing the Working Environments of Victorian Experimental Science

Metrology, Metrication, and Victorian Values

[Victorian Literature]

The Woman in White

I just finished reading the First Epoch of Wilkie Collins' The Woman in White. All of the characters are very interesting, so here's my take on them.

Walter Hartright: First of all, what is the author trying to tell us about this character by naming him Mr. Hartright? Hmmm....maybe that his "heart" is in the "right" place? So far it seems like he is the "good guy." Actually I really like Mr. Hartright, except that he falls in love so quickly with Laura. I don't think it's necessarily unrealistic, I just think its too fast.

Pesca: I found his character to be very funny. I think Collins wanted his readers to have someone they didn't exactly have to take seriously. He seems to be the "comic relief" even though he's only brought up in the first two chapters or so.

Sarah Hartright (?): Well, on the surface I think she's really rude. However, there's something about Sarah that I like. She seems rational, even though she's not a fan of Pesca. After reading the first Epoch, it seems like the men who have the ability to make everyone like them, are the men that one should be weary of. Pesca, for the most part has the ability to make a lot of people like him, yet Sarah is cautious of him.

[side note] From what I have heard in another one of my classes, anytime a tea cup breaks, the author is trying to tell us that someone has lost his/her virginity. How interesting! Pesca breaks a teacup at the very beginning of the novel and Sarah picks it up. Maybe they have a secret relationship and her scorn for him is her way of covering up their affair :) Just a thought.

Marian Halcombe: She is described as being very masculine, not only in her features but also in her actions. By this point in the novel, I really don't want Laura to be with her husband anymore, but I also don't exactly want her to be with Mr. Hartright. I wonder if Collins makes Marian so masculine because in the end she is who Laura ends up "being with."

Laura Fairlie: Honestly, I can't help but take a 21st century view of her and feel a little anger towards the fact that she won't stand up for herself and not marry Sir Percival Glyde. I know that during that time it wouldn't have been "proper" for her to disobey her father's last dying wish. I think she is the type of character who just lets things happen to her and doesn't take control. Laura reminds me of Angela Carter's female character in "The Bloody Chamber."

Mr. Fairlie: Probably the most obnoxious character so far! I really dislike this man. It seems like there is nothing wrong with him. Although, I wonder if there is something in the fact that he will never leave his room. Is he hiding from someone? Is there something he knows that he is afraid to tell? Does it have something to do with that mysterious woman in white?

Anne Catherick: I never would have guessed, from the first meeting of her, that she would have escaped an asylum. She reminds me of the "mad woman in the attic," even though she doesn't seem particularly mad. Maybe she is a bit off, worshiping Mrs. Fairlie the way that she does. I wish she would just tell Mr. Hartright and Marian what Sir Percival Glyde has done to her!

Sir Percival Glyde I don't trust him. Of course, Collins wants it that way. I think he wants Laura's money. I also think he has killed someone. And I also think he gave Marian a fake address when he told her to write to Mrs. Catherick. I bet he wrote the letter that Marian got back from her. He is just pure evil!

Mr. Gilmore: At first I didn't like Mr. Gilmore. I was very upset when he told Sir Percival Glyde's lawyer about the letter that Laura received describing Percival. I think that may have been the one act that could have prevented a lot of bad things. If Percival had enough time to come up with a strategy to throw off everyone's suspicions, then it was because of the letter Mr. Gilmore wrote to Percival lawyer. Granted, now that I know a little more about him, I actually think he means well and I also think he doesn't trust Percival. Anyone who doesn't trust Percival is okay in my book!

I think that's everyone. Every major character at least. I haven't exactly formed any strong opinions about Mrs. Vesey or Mr. Hartright's mother...maybe later.


:)




[Victorian Literature]

Ruth Belville

After researching further, I found an interesting story about a woman who carried and sold "certified time." I ordered a historical fiction novel written by David Rooney titled Ruth Belville: The Greenwich Time Lady and plan to read it and write more.

From my research, I've found that she lived a bit later than the specific period we are studying, although she was probably born right around 1850-1860.

Cranford - Calash

I just have to say I adore this scene from page 56.

"The spring evenings were getting bright and long when three or four ladies in calashes met at Miss Barker's door."

The paragraph following the sentence makes me laugh.

I really didn't know what a calash was. So I've posted a picture.

cute :)

It's like a retractable covered wagon for your head!




[Victorian Literature]

Cranford - Menopause

I may be a little early on reading this article, since we haven't finished the book, but I found this ... sort of funny... at least very interesting article on Cranford, menopause and sexuality.

Titled: Malthusian Menopause: Aging and Sexuality in Elizabeth Gaskell's Cranford

Link: Malthusian Menopause
(I found this from the UNCW website, so you may have to sign into the library to view it)

If you're interested you should check it out :)

Sneak Preview:
"The model of non-reproductive sexuality in Cranford is a repositioning of a Malthusian economics of population, one that addresses the social marginalization of older women through its challenge to the contemporary idea that female post-menopausal sexuality is anathema."

[Malthusian - Someone who believes that population will always grow faster than the food supply that it needs to survive and prosper

anathema - a detested person]

This reminded me of a few lines from "A Castaway:"

Here's cause; the woman's superfluity:
and for the cure, why, if it were the law,
say, every year, in due percentages,
balancing them with men as the times need,
to kill off female infants, 'twould make room;

[and]

so many lives of women, useless else,
it buys us of ourselves, we could hold back,
free all of us to starve, and some of us,...
to slave their lives out and have food and clothes
until they grow unserviceably old


:)

Image from: Jane Austen in Vermont




[Victorian Literature]

The Angel in the House

Starting now I'm going to get back to my blogging duties & update this WAY more often. I'm sorry I've neglected this blog and I will try my best to find at least a few minutes to write something insightful a few times a week. :)

I was doing some outside research for class and found out that the assigned poem from "The Angel in the House" is now something that a lot of critics reference. The section of the poem we had to read for today was titled "The Paragon." When I OED'd this term (because I honestly did not know what it meant) I found out that it means "An object of outstanding quality or value; an object which serves as a model of some quality" and "A match, an equal; a companion or partner in marriage; a rival or competitor." I think it's important to know how high of a pedestal women of the house seem to be placed on in this poem. I think that by understanding that, we can understand why the concept of the "Angel" is often criticized, especially by women.

We also see that the "Angel" is represented as extremely important to the household. Patmore writes,

Yet is it now my chosen task
To sing her worth as Maid and Wife;
Nor happier post than this I ask,
To live her laureate all my life.

I think that by stating "to sing her worth as Maid and Wife" is sort of degrading. Sure, this poem is placing a woman on a pedestal, but at what cost? It seems the implications are that cleaning and "loving" are the only tasks a woman is good at, since they are the only ones worthy of poetry praise.

I think what is more curious than the actual poem itself is the criticism around the poem. I remember taking a summer women's literature class and reading "Professions for Women" by Virginia Woolf. Woolf states, "I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. It was she who used to come between me and my paper when I was writing reviews. It was she who bothered me and wasted my time and so tormented me that at last I killed her."

I like the fact that Woolf calls the "angel" a "phantom." I think that the "angel" represents the concept of women following the strict, conservative path that has been laid out in front of them by the tradition of their mothers: be pure, get married, have children, take care of the home, live by morality, do as your husband says, die. Woolf goes on to state that she sometimes while writing feels that she should be mindful of how others will view her writing, especially men, but then realizes that no self-respecting critic would place too heavy a weight on others' feelings. In this sense she had to kill the "angel in the house," the one inside her, in order to do what she wanted, and not what she felt she should do.

Another Victorian poem that I feel relates a lot to this concept of the "angel" is Augusta Webster's "A Castaway." This poem is written in the perspective of a Victorian prostitute who resents the negativity that she receives from women who have chosen the path of "wife." Webster writes,

Well, well, the silly rules this silly world
makes about women! This is one of them.
Why must there be pretence of teaching them
...
Do I not know this,
I like my betters, that a woman's life,
her natural life, her good life, her one life,
is in her husband, God on earth to her,
and what she knows and what she can and is
is only good as it brings good to him?

I like how the author is noting that, at the time, by choosing the title of "wife" a woman is becoming a "slave" to her husband's happiness. It seems here that the speaker would rather be a prostitute than a wife and that she too, while it may have been a struggle for her, has killed the angel (or is trying to kill the angel).



Just my thoughts. And if you haven't read the essay by Woolf or the poem by Webster I definitely encourage you to!




[Victorian Literature]