Havelock Ellis’ Sexual Inversion was written long after, and obviously makes reference to, The Picture of Dorian Gray, but the imagery that Wilde uses is reflected in Ellis’ description of the sexually inverted boy. There are moments when the resonance in ideas and language is practically uncanny. The third paragraph in Chapter IX of Dorian Gray describes Dorian’s rising infamy in London as well as how that infamy is undermined by his beauty. In the excerpt from Ellis, he is interviewing H.C., a young male sex worker who goes by the name Dorian Gray. Ellis’ description of H.C. is eerily similar to how we read Dorian described early in the novel. The more encompassing connection however, is that for both of them, their outward beauty is a tool and a mask that allows them to commit many sins with seemingly little reproach. Despite his profession in the sex work industry, which even to this day is considered “sinful” and morally corrupt, H.C. is described by Ellis as having the “beauty of an angel” and his voice the “purity of a clarinet.” These kinds of descriptions are commonly reserved for people — particularly women, which connects this to some of the other readings about Urnings having a feminine spirit — who are considered morally and spiritually pure. Similarly, on page 91, Dorian is described as having “the look of one who kept himself unspotted from the world.” His beauty is so pure in fact, that “his mere presence seemed to recall to them the innocence they had tarnished.” These two young men are able to operate, somewhat, successfully as “sinners” because their outward “purity” makes their critics doubt themselves rather than doubt the beauty of the boys.
Author: Antonia
Female Body as Commodity
Tristan begins her chapter on sex workers of London in the Victorian Period with an explanation of why they exist in the first place. Her argument is that all sex work is survival sex work. She says that their existence stems from the inequality of the sexes, particularly in England. The culture that places stigma on pre-marital sex for women, but does not instill that stigma for men invites this job as a remedy. It means that men can seduce or abuse young women with no risk to themselves, but at the cost of destroying those women’s lives. A woman must marry in order to assure a living for herself , because she is not allowed the same “occupations and professions” that allow for a living wage. However, in doing so she gives up her existence. Tristan describes this as choosing “between oppression and infamy.”
Tristan also blames the materialism and capitalism of an industrialized England. The more money accumulated by the upper classes, the poorer the poorer classes get. The more money these men get, the more they have to spend on the sex workers that they are creating by exploiting the poor classes that they come from. She describes seeing in a “finish” a beautiful Irish girl, who later that night she saw on the floor, her dress ruined, because people kept throwing drinks on her. She also describes seeing men create orgies in these finishes, in clear view of others, because they paid so much money that they should have that right. Tristan is describing a market of women’s bodies; where, rich men use them as things to consume and throw away, a growing symptom of the wastefulness of the industrial age. The actual humanity of these women do not matter, and is in fact ignored. When a sex worker is found struggling for breath after a john abuses her for allegedly giving him a disease, the man is not charged with any crimes towards the woman, but rather a crime for disturbing the peace of the neighborhood.
Hood’s poem, describing the body of a sex worker who committed suicide by jumping into the river, takes a stance on the “purity” of this woman. The speaker says to think “Not of the stains of her, / All that remains of her / Now is pure womanly.” And in the final stanza says “Owning her weakness, / Her evil behaviour, / And leaving, with meekness, /Her sins to her Saviour!” The implication of these words is that only through death could this woman receive any kind of forgiveness. She has done the noble thing by taking herself out of this world and placing her soul in the hands of God. Tristan says in her essay “To brave death is nothing; but what a death faces a prostitute! […] moral death all the time, and scorn for herself! I repeat: there is something sublime in it, or else it is madness!” The poem sees something sublime in her death, but sees her life as pitiful. It demands respect for her dead body that she would not have been given in life.
At the Ladies Club
After learning about the Gentleman’s Club in the “Victorian Period” game, I decided to look into the “Ladies Club” section of the Victorian Dictionary. There was only one article in the section, and it was by the satirical conservative newspaper Punch. However, through the mockery that they give to the idea, they expose exactly what they fear women obtaining. The Ladies Club did not even actually exist, but the piece speculates on what might occur if it did, and how it’s possible formation incites “fearful questions.” Their first question is if there will be a club committee, and if there is how many women will be allowed to speak at once. This betrays a fear of women organizing and having a voice completely outside the control of men. They then question whether there will be a smoking room, and if “cigars will suffer to be lighted” or, for fear of illness, only “the middlest cigarettes.” Not only does this show disgust at the idea of women adopting a symbol of masculinity for their own pleasure, but it doubts whether they will be able to do that, or if their delicate constitutions would prevent it. They then question what women will discuss. Whether it will be topics they feel appropriate, such as “the nursery” and “bonnets,” or if they will talk of more scandalous matters such as love, marriage, and even divorce. In this question they restrict the interests of women to the domestic life. They do not even consider that women may talk about politics, literature, science, or anything outside of marriage and children. They go on, continuing to trivialize women, and their interests, even suggesting that ballots will be represented by cotton balls instead of actual ballots. Perhaps paper is just too heavy. They predict a woman in the club scorning her husband and leaving him to take care of the children for a night, while she takes time for herself. This practice, which men a known to do, is seen as selfish in a woman because her first concern should be the family and not herself. The last point they make on behavior in the club gives a good insight into the male gaze of the period: “what a sensation would be caused on the street pavement, if the Club belles were to congregate about the Club beau-windows, and stare through their eye-glasses every handsome man who passed.” They are revealing an anxiety about being objectified the same way that they objectify women. The entire article shows a fear, not of equality, but of a world where women have power over men in the same way that men have power over women.
Works Cited
“The Ladies Club” Punch. Victorian London Dictionary. Web. 12 February 2016. http://www.victorianlondon.org/women/ladiesclub.htm
Introduction and Fordyce’s Sermons
Hello, I’m Antonia Carey. I’m a double major in English and Theatre Arts with a Performance concentration. I’ve never pinpointed a single favorite author, but some of my favorites are Mary Shelley, F. Scott Fitzgerald, Christopher Marlowe, Sandra Cisneros, Hemingway, and Oscar Wilde.
Pride and Prejudice seems to be responding to Fordyce’s Sermons by emphasizing the individual over a ubiquitous image of “the female.” Where Fordyce is writing to women on how to be marriageable, Austen is writing about the effect that this constant pressure to be marriageable is affecting each of the women in the Bennet household. The most obviously affected by this idea of womanhood that Fordyce presents is Mary, whom we know is reader of “moral philosophy” (70). Mary does not show any signs of excessive wit or study of “frivolous arts” that Fordyce warns against (395). Yet, in Fordyce’s eyes, she still transgresses against her sex. He writes in “On Female Virtue, Friendship, and Conversation” that “Dulness [sic] and insipidity, moroseness and rigour, are dead weights on every kind of social intercourse” (397). Mary appears to have these in spades, as she is constantly taking the moral high ground and demeaning anything that she finds to be frivolous. It’s noted that when the Bennet sisters go into Meryton, accompanied by Mr. Collins, that “every sister except Mary agreed to go” (105). Fordyce also mentions women learning the difference “between an obliging study to please,” which he finds to be a good quality among women, and “an indecent desire to put themselves forward,” which is something women should avoid displaying. Mary transgresses here as well. It is stated plainly in chapter VI that Mary who, due to not being pretty like her sisters, “worked hard for knowledge and accomplishments, was always impatient for display.” At this event, Mary does play a long concerto, but makes up for it with “Scotch and Irish airs” (62-63). Her behavior at the Netherfield ball is not quite as felicitous. She is imposing on the party, so much so that Elizabeth subtly entreats their father to stop her (132). Mary, by trying too hard to be the woman that she is expected to be, becomes one of the women that Fordyce denounces.