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Undermining the Angelic Restrictions of First-Wave Feminism: What the En W Woman Did, Didn't, and Wouldn't Do" (2014)

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Undermining the Angelic Restrictions of First-Wave Feminism: What the En W Woman Did, Didn't, and Wouldn't Do Wayne State University Wayne State University Dissertations 1-1-2014 Undermining The Angelic Restrictions Of First- Wave Feminism: What The ewN Woman Did, Didn't, And Wouldn't Do Jane Kristen Asher Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the English Language and Literature Commons, and the Women's Studies Commons Recommended Citation Asher, Jane Kristen, "Undermining The Angelic Restrictions Of First-Wave Feminism: What The eN w Woman Did, Didn't, And Wouldn't Do" (2014). Wayne State University Dissertations. Paper 1065. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. UNDERMINING THE ANGELIC RESTRICTIONS OF FIRST-WAVE FEMINISM: WHAT THE NEW WOMAN DID , DIDN’T , AND WOULDN’T DO by JANE K. ASHER DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan In partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2014 MAJOR: ENGLISH Approved by: ______________________________________ Advisor Date ______________________________________ ______________________________________ ______________________________________ © COPYRIGHT BY JANE K. ASHER 2014 All Rights Reserved DEDICATION I dedicate this dissertation to my dear son, Reilly Asher. Although you may not remember, you have been on this journey with me from the very start. You have shaped my path and inspired me to tread forward. I dedicate this dissertation to my husband, Nathan Foerstner. You renewed my mind and my spirit, and you never doubted my path or my potential. I dedicate this dissertation to my mother, Mary-Jo Asher. My aspirations were made possible by your faith and fortitude. ii ACKNOWLEDGMENTS I want to thank my committee members Dr. Michael Scrivener, Dr. John Reed, and Dr. Natalie Cole for their patience, feedback, and guidance; this process would have not been successful or rewarding without their attentiveness and insightful contributions to my research and writing. I also cannot express enough gratitude to my Advisor, Dr. Anca Vlasopolos. Her encouragement and dedication inspired me to complete this monumental task, and I am so honored to have had the opportunity to work with such a dedicated mentor and astute scholar. My advisor and committee members have been most influential throughout the dissertation process, but I do not want to forget those individuals who were integral in helping me reach this final stage. I want to thank The Department of English at Wayne State University for granting me numerous opportunities for scholarly growth through my roles as Graduate Teaching Assistant, Writing Center Tutor, Policy and Undergraduate Committee Member, and EQE Evaluator. I am also forever grateful for the financial support that I received from the English Department and the Graduate School, and I am thankful to the many other faculty and staff members who assisted and supported me throughout my years as a graduate student at WSU, especially Professor Ken Jackson, Professor Marilynn Rashid, and Professor Francisco Higuero. I also owe special recognition to Professor Natalie Cole, my outside reader and mentor from Oakland University who encouraged me to pursue my Ph.D. in the first place. Without Professor Cole, Bleak House, and Belfast, I would have never dreamed big. iii Lastly, I must also pay tribute to the individuals helped me get through everyday life so that I could thrive academically. I would have never been able meet the demands of undergraduate and graduate school without the support of my mother, my father, my sister, my husband, and my son. I thank my aunt Joyce Gerlach for her unconditional support. I thank all my family and friends who babysat so that I could attend class, work, read, write, and sleep. I also want to recognize Lisa Czapski, Chinmayi Kattemalavadi, and Jule Thomas, my dependable comrades and friends at Oakland University and Wayne State who inspired me along my journey. Finally, I must thank my two dearest friends Rebecca Augustyn and Julie Veenstra for their loyalty and love. iv TABLE OF CONTENTS Dedication _____________________________________________________________ ii Acknowledgments_______________________________________________________ iii Introduction “She Had Power in Her Purity”: Feminist Potential and Intertexuality in 1895 ______ 1 Chapter 1 Good Angels to the Rescue: The Fictionalization of the Social-Purity Mission ______ 39 Chapter 2 “Exactly as She Wills”: Marriage Reform and the New Woman’s Search for Authentic Liberty _______________________________________________________________ 93 Chapter 3 Individual Passions and Collective Virtues: First-Wave Feminist Sexual Politics and the Sexual Education of the New Woman __________________________________ 140 References ___________________________________________________________ 200 Abstract _____________________________________________________________ 215 Autobiographical Statement _____________________________________________ 218 v 1 INTRODUCTION “SHE HAD POWER IN HER PURITY”: FEMINIST POTENTIAL AND INTERTEXTUALITY IN 1895 1 In 1939, Virginia Woolf describes her battles “with a certain phantom,” with shadows like those that suppressed female sexuality in 1895 (58). She explains that she has finally killed The Angel of the House 2, the ghost whose shadow is reminiscent of the “chief beauty” of womanhood: Purity (59). Woolf realizes that she must catch this phantom “by the throat” if she wants to express “the truth about human relations, morality, sex” because “all these questions, according to the Angel of the House, cannot 1 In The Woman Who Did, the narrator describes Herminia’s mission: “She had power in her purity to raise his nature [Alan’s] for a time to something approached her own high level” (32). See page 45 for an analysis of this quotation. 2In referencing “The Angel in the House,” I am referring most generally to the iconic Victorian image of femininity as featured in Coventry Patmore’s 1854 narrative poem. In Victorian literature and art, the woman who embodied this “Angelic” feminine ideal is stereotyped as a saintly, passive, selfless, submissive, pure, and sexless wife and mother. This is the depiction of ideal womanhood that Richard Altick explores in the foundational text of Victorian studies Victorian People and Ideas: A Companion for the Modern Reader of Victorian Literature (1973). Altick argues that “convention dictated a rigorously stereotyped personality” for the middle-class woman: “she was The Angel in the House, to borrow from the title of Coventry Patmore’s hugely popular versified praise of domestic sainthood and the mystical, non- fleshly institution of marriage” (53). Altick acknowledges that many “leading novels” of the period challenged this womanly ideal through literary images of “the nonconforming woman”; nonetheless, this “revered cluster of Victorian domestic virtues served as a norm” for which “writers frequently mounted an outright or covert attack on the unrealities and perversions of the prevailing womanly ideal, the myth of domestic accommodation and tranquility” (56). In Woman and the Demon: The Life of a Victorian Myth (1982), Nina Auerbach notes that the Victorian Angel is much different from the “traditional” masculine angel of the Romantic Period: “As heir to this tradition, the Victorian angel in the house seems a bizarre object of worship, both in her virtuous femininity with its inherent limitations—she can exist only within the family, while masculine angels existed everywhere—in the immobilization that the phrase suggests” (70). The Angel of the House that resonates in the Victorian period “is defined by her boundaries,” and it is within the domestic sphere that she becomes “the source of order” (Auerbach 71). As Auerbach points out, the mythical Angel has many guises (much like the literary figure of the New Woman), and this construct can be both empowering and oppressive. In “Nobody's Angels: Domestic Ideology and Middle-Class Women in the Victorian Novel” (1992), Elizabeth Langland further develops this nuanced perception of The Angel by focusing on “the intersection of class and gender ideologies in a Victorian icon—the ‘Angel in the House,’” in order to argue that “the wife, the presiding hearth angel of Victorian social myth, actually performed a more significant and extensive economic and political function than is usually perceived” (290-291). Langland also argues that “the portrait of middle class women” in the Victorian period is complex and that many Victorian writers challenged the monolithic image of The Angel through representations of femininity that were “less constrained, imprisoned, and passive than the victim discerned in conventional gender-inflected interpretations” (303). Building on these studies which recognize the complex perceptions of the Victorian Angel, I identify the first-wave feminist projection of ideal womanhood as “the angel,” a designator which suggests that the late-nineteenth century feminine construct is still very much rooted in the moral and sexual standards of The Angel but that it has undergone some revisions. 2 be dealt with freely and openly by women” (59-60). The Victorian purity ideologies that maintained the vitality of The Angel were also instrumental in facilitating the possibility of this murder in that they exposed the limitations of The Angel’s
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