What was the role played, and impact of, female authors and / or representation of women in the literature of this period? Enlightenment thought massively influenced eighteenth and nineteenth century women’s literature. Although enlightenment philosophers made claims for universalism, many had difficulty in finding a place for subordinate groups: lower social classes, non-whites, and particularly women. The latter and the role that they played during this period of enlightenment, will be the central focus of this essay. Enlightenment thinkers (whom were predominantly male) made new attempts to present social differences between male and females as natural. Such ‘enlightened’ male thinkers as Rousseau and Kant, asserted that although women, as human beings, had rights, because of their alleged irrationality and lack of autonomy, they were to adhere to the fact that their correct sphere was a private one as opposed to a public one. Such concepts provoked outrage amongst women such as Mary As tell, Hannah More and Mary Wollstencraft, who fought for recognition of the unacknowledged potential that they felt women had.
To assist in my discussion of the impact of eighteenth century female literati and the representation of their fictional female characters, I will pay particular attention to the following texts: Mary Wollstencraft’s A Vindications of the Rights of Woman (1792) and Jane Austen’s (1813), two very diverse texts that explore shared themes in their portrayal of female representation, that received starkly dissimilar receptions. In A Vindication of the Rights of Woman, Wollstencraft discusses in depth how women’s rights were constantly impeded by the “exclusive judges” of society: men. She condemned the idea that they regarded women as inferior and should be educated accordingly. Her principal message was that equal education for all was the key to emancipation and progression. Wollstencraft felt that by limiting women’s right to education, not only were men castigating women, but also limiting society’s advancement on the whole, as less than half of the population were receiving a sufficient education. She attacked a number of earlier writers, particularly Rousseau, who had commented that girls were unable to attain the same levels of virtue as boys: “Who can possibly suppose that nature has prescribed the same advances to the one sex, as to the other, or that the first to feel desire should be the first to show it? What strange depravity of judgement! The consequences of the act being so different from the two sexes, it is natural that they enter upon it with equal boldness? How can anyone fail to see that when the share of each is so unequal, if the one were not controlled by the nature, the result would be the destruction of both, and the human race would perish through the very means ordained for its continuance?” It was exactly this kind of patriarchal doctrine that infuriated Mary Wollstencraft.
She continued to talk of equality in education, constantly reiterating that a meritocracy would help society progress: .”.. and the same motive leads me earnestly to wish to see woman placed in a station which she would advance, instead of retarding, the progress of those glorious principles that give a substance to morality.” If women were always to be kept unaware of the mechanics of society, Wollstencraft argued that the time would soon come when they would be unwilling to cooperate with it: “that if she be not prepared by education to become the companion of man, she will stop the progress of knowledge and virtue; for truth must be common to all… and how can woman be expected to cooperate unless she knows why she ought to be virtuous.” Wollstencraft also asserts that if women were to receive an adequate education it would develop their domestic skills; they would be better mothers and wives. Developing this point further, Wollstencraft adds that men would eventually have more respect for their educated spouses, they would choose to marry for love, affection, intellectual stimulation and mutual respect, and consequently would refrain from infidelity: “The father of a family will not then weaken his constitution and debase his sentiments, by visiting the harlot, nor forget, in obeying the call for appetite, the purpose for which it was implanted. And the mother will not neglect her children to practice the arts of coquetry, when sense and modesty secure her the friendship of her husband.” According to Wollstencraft newly gained independence would facilitate women to run and maintain a household, and thus be of more value to her husband and her family. Another important part of her discourse was her exposure of the vanity of contemporary women and their preoccupation with appearances as ‘false refinement’ and ‘mistaken notions of female excellence’.
As Wollstencraft reveals the shallowness of supposedly ideal female qualities she is quick to point out that the problem is exacerbated by male as well as female behaviour. On the one hand, men enforce the traditional notion of femininity and thus keep women in inferior positions. But on the other hand, women readily accept their superficial role. Wollstencraft would prefer women to fight for an educated role, which would invariably lead hem to become autonomous: “And why do they not discover, when in the ‘noon of beauty’s power’ that they are treated like queens only to be deluded by hollow respect, till they are led to resign, or not assume, their natural prerogatives?” The impact of Wollstencraft’s rhetoric on the literary world provoked harsh reaction from both sexes. The role of women that she portrays throughout is one of subordination, but subordination that was largely accepted at that.
By daring to undermine an ideology of femininity that had existed for centuries, it is not surprising that her contemporaries regarded her as a shameless wanton, a ‘hyena in petticoats’. Critics wrote sneering epigrams about her: “For Mary verily would wear the breeches God help poor silly men from such usurping bitches.” Even some twentieth century critics regard her as radically feminist, suggesting that she was an archetypal castrating female, suffering with an extreme case of penis envy! However, regardless of her critical response, by writing a book as radical and polemical as A Vindication, Wollstencraft broke free from the literary restrictions that were considered appropriate for female authors such as travel narratives and letters, and boldly ventured into the male domain of ideological philosophy. This impact was to set a precedence of female power and independence that would eventually heighten the impact of her argument and gave women the courage to assert themselves. Such feminist works as Wollstencraft’s Vindication, that questioned the moral and spiritual status of women, and spoke of improvement in female education were the main a large concern of many works by female novelists. Although some critics have suggested that Jane Austen was merely a purveyor of feeble female acquiescence to patriarchy, others regard her as a subversive force of good, mocking men and paying proper attention to the value of the female worlds that make up the underlying theme of the majority of her novels. Her ideas of female propriety have often been compared to those of Mary Wollstencraft.
On first reading Austen’s work the sole function appears to be the promotion of marriage as a means of female advance; this is particularly true in Pride and Prejudice. The focus is primarily domestic. The famous opening scene makes a mockery out of the rapacious husband searching in a village where the majority of the population is largely female. Love and marriage appear to be the main source of interest for the characters in the novel. However, on another level Austen does show a clear and consistent commitment to the rational principles on which female enlightenment thinkers based their case. The titles of both Pride and Prejudice and Sense and Sensibility are indicative of Austen’s philosophical interest in judgement and manners, and reiterate Wollstencraft’s sentiments that these were areas in need of female development.
Austen’s heroines are quite often shown as representations of ‘human’ nature rather than ‘feminine’ nature, whom having received a degree of formal education are able to act as moral and rational human beings. However, Austen’s stance on appropriate female behaviour is often contradictory. The female protagonist of Pride and Prejudice, Elizabeth Bennet is a perfect example of such a character. Portrayed as intelligent and lively, her ‘quickness’ of mind is evident in her taste for witty and teasing conversation, where she often adopts very independent views. Such characteristics are most evident in chapter eleven, where she participates in animated chat with Darcy and Miss Bingley. Topics covered include reading, letter writing and the desirable accomplishments for young women.
However, what is most apparent in this part of the novel is the flirtatious banter between Elizabeth and Darcy, where Elizabeth easily outwits her male counterpart and has the monopoly of the conversation: “Miss Bingley’, said he (Darcy), ‘has give me credit for more than can be. The wisest and best of men, ney the wisest and best of their actions, may be rendered ridiculous by a person whose first object in life is a joke… .’ ‘Certainly’ replied Elizabeth – ‘there are such people, but I hope I am not one of them. I hope I never ridicule what is wise or good.
Follies and nonsense. Whims and inconsistencies do divert me, I own, and I laugh at them whenever I can – But these I suppose are precisely what you are without… .’ ‘Perhaps that is not possible for anyone. But it has been the study of my life to avoid these weaknesses which often expose a strong understanding to ridicule.’ ‘Such as vanity and pride.’ ‘Yes vanity is a weakness indeed.
But pride where there is real superiority of mind, pride will always be under good regulation. Elizabeth turned away to hide a smile.” (pg 42-43) Elizabeth appears to be teasing Darcy and here is definitely an element of sexual desire apparent in this chapter. It is the advocacy of such behaviour that Wollstencraft dismisses in her Vindication, and augments the diverse representation of female attributes portrayed by Austen and Wollstencraft, who sometimes appear to promote coherent female attitudes. Austen simply touches on Wollstencraft’s female exigencies, her characters are very much aware of their female identity and sexuality and do not think that using it to their advantage is derogatory. However, in the extreme case of Lydia Bennet, Austen is quick to denote that immoral behaviour can only result in discord. Another example of Austen’s contradictory juxtaposition of Wollstencraft’s ideals is her conclusion that marriage is the best object regardless of education.
Mary Bennet, the most educated of the novel’s female characters, remains single throughout the text and appears to be heading for an unmarried life looking after her mother. Her learned character is not rendered as admirable or desirable through the discourse of the novel. The female role is depicted in many ways throughout the text, and it is a woman’s perception of events, through both the narrator and the author that we are presented with. What Austen is exposing is a value system for women where they are capable of intellectual and moral growth, but not beyond the bounds of the private sphere: duty to family and husband remain central to the female agenda. The style of writing adopted by both Wollstencraft and Austen is similar in that there are very few descriptive passages, there is no painting of words, and very little metaphor. Both authors are concerned with content over style.
Unlike earlier male writers who thought that elaborate language and extended use of literary device were essential in the production of good work, Austen and Wollstencraft were more concerned with what they were saying. The greatest part of their achievement was the fact that their work was published and acknowledged as being written by a woman. And so it leads me to conclude that Austen and Wollstencraft were two revolutionary authors, belonging to a group of female literati that emerged out of the enlightenment. Both women have come to be immensely respected in the canon of English literature for their contribution to a once male dominated area. In their own unique way both chart the journey of middle class woman from subordinate to independent, through the premise of either education or marriage.
Wollstencraft puts forward an antithesis that is acutely structured, radical and political, pioneering for the emancipation. It was the impact of such a book that smoothed the way for writers such as Austen in their fictional discussion of the role of women. Word Count: 2387 Bibliography: Wollstencraft, M. A Vindication of the Rights of Woman, Penguin, 1992 Austen, J. Pride and Prejudice, Penguin, 1995 Kramnick, I, ed. The Portable Enlightenment Reader, Penguin, 1995 Richet ti, J.
ed The Cambridge Companion to the Eighteenth Century Novel, Cambridge University Press, 2001 Sanders, A. The Short Oxford History of English Literature, Oxford University Press, 1996.