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Full Screen View OH, FANNY! WHAT A DEEP VOICE YOU HAVE: MASCULINIST NARRATION IN JOHN CLELAND'S FANNY HILL OR MEMOIRS OF A WOMAN OF PLEASURE by Ilana Cohen A Thesis Submitted to the Faculty of The Schmidt College of Arts and Humanities in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida August 1997 OH, FANNY! WHAT A DEEP VOICE YOU HAVE: MASCULINIST NARRATION IN JOHN CLELAND'S FANNY HILL OR MEMOIRS OF A WOMAN OF PLEASURE by Ilana Cohen This thesis was prepared under the direction of the candidate's thesis advisor, Dr. David Anderson, Department of English, and has been approved by the members ofher supervisory committee. It was submitted to the faculty of the Schmidt College of Arts and Humanities and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. SUPERVISORY COMMITTEE: Chairperson, Department of English n, the Schmidt College of Arts and Humanities Date 11 ABSTRACT Author: !lana Cohen Title: Oh, Fanny! What a Deep Voice you Have: Masculinist Narration in John Cleland's Fanny Hill or Memoirs ofa Woman ofPleasure Institution: Florida Atlantic University Thesis Advisor: Dr. David Anderson Degree: Master of Arts Year: 1997 John Cleland, author of Fanny Hill or Memoirs ofa Woman ofPleasure, employs a female narrative voice, but his novel reinforces traditional gender roles of male domination and female submission. By co-opting his female narrator, Cleland makes Fanny appear to be a willing and available sexual partner. His pornographic novel depicts sexual situations that raise virile men to the position of authority and devalue both men and women who are submissive, not "masculine." The most devalued and objectified character in the novel is Fanny herself, even though the novel portrays her as happy and satisfied. lll TABLE OF CONTENTS Introduction ........................................................................................................... l Chapter One Male Fantasy ................................................ ........................................................ lO Chapter Two Fresh Goods ......................................................................................................... 24 Chapter Three Sex and Love ............................................................................................... ......... 30 Chapter Four Female Gaze, Male Vision ..................................................................................... 37 Chapter Five This Foolery from Woman to Woman .................................................................. 43 Conclusion ........................................................................................................... 51 Notes ............................................................................................................ .-...... 54 Works Cited ......................................................................................................... 57 lV Introduction The narrator of John Cleland's Fanny Hill or Memoirs ofa Woman ofPleasure wears a dress and petticoats and exhibits female attributes --except for her voice. What Fanny Hill says takes on a decidedly masculine slant; the female protagonist verbalizes masculine fantasies of sexual dominance, aggression and satisfaction. Throughout her sexual escapades, Fanny is the yielding female made rapturous by the unfailing potency of her virile male lovers. Although she speaks in the first person, she speaks in the voice of a male describing sexual fantasies in which he literally divides and conquers. In this masculine fantasy, the male occupies the dominant sexual and social position, while his female partner is non-threatening, willing, eager and submissive. Sometimes Fanny initiates sexual acts, but she always allows her partner to do what he pleases. Fanny's compliance allows her to represent the ultimate sexual partner for the pleasure-seeking male. Fanny is a fantasy figure for many reasons. She attracts men because she is acquiescent. Except for her euphemistic vocabulary, she is not learned. She is even-tempered, immediately accessible and sexually enthusiastic. As a prostitute, she is readily available and never a challenge to bed. She is physically 1 attractive, free of disease and children (so far as we know), and she enjoys her work. She never bemoans her situation; rather, she delights in her sexual experiences. She is the archetypal sexual object, the player and the plaything. Cleland reduces her to a sexual toy. He objectifies her in various ways: cataloging her body parts, depriving her of an education, selling her to various exploiters, and reducing her to the status of sexual property. Fanny's objectification continues throughout the novel, even in romantic, as opposed to pornographic, episodes. The novel's love model is in accordance with the sex model, since Fanny is rendered incapable of any nonsexual behavior, thoughts, or emotions. Cleland does not separate love and sex. Instead, he minimizes love to objectify Fanny, and she reenters prostitution when Charles her first and only disappears. The fantasies in the novel focus on male power and sexual authority. Cleland belittles feminized men to emphasize the fantasy of male virility. Examples of such virility occur constantly, reinforcing masculine sexual ideals, and yet Fanny is ironically the medium for this male domination fantasy. Cleland's potent men, transcending in some cases their low class status or intellectual ability, all dominate women. Fanny Hill has been the subject of much critical discussion over the years. One group of critics has focused upon the question of Fanny Hill's literary merit. 2 Typically, they deny that the novel is pornographic. JoAnn Houston argues that Fanny Hill's literary merit transcends its pornographic nature. Her approach allows her to compare Fanny Hill to other eighteenth-century novels. In her dissertation, Houston argues that Fanny Hill has literary merit because it is in fact a didactic novel like Clarissa, Pamela and Tom Jones (6). Houston sees Fanny as a remorseful narrator who intends to turn vice into virtue (9). Fanny's remorse relieves her of the guilt caused by her life of prostitution. In addition, Houston notes that the text's lack of the vulgar language (typical of pornography) confirms the novel's literary ment. In "What is Fanny Hill?," an article published a year after the Putnam edition of Fanny Hill, B. Slepian and L.J. Morrissey argue that "by a study of the novel's structure, themes and especially its rhetoric, it can be proven that the Memoirs is not just pornography, but that it has real literary worth" (65). Their approach to establish the literary merit of the novel is consistent with other critics. They do so by analyzing the literary techniques of the novel, focusing on the euphemisms, the symbols and the plot. The novel's diction has attracted considerable attention from critics who contend that Fanny's language elevates the novel above pornography. In the novel, euphemisms replace four letter words, 1 so "not one obscene word appears in Cleland's novel. Historically, the novel's claims to a literary, rather than a merely 3 pornographic value have rested on this stylistic point'' (Kibbie 573). Unlike My Secret Life, which is specifically male in viewpoint and full of vulgar diction, Fanny Hill contains no obscene language. Maurice Charney devotes a chapter in Sexual Fiction to contrasting My Secret Life with Fanny Hill. He states that "Fanny Hill depicts joyous, pastoral, euphemistic sex with dirty words and thoughts rigorously excluded; My Secret Life records almost a grim, daily round of sexual activity, mostly in urban settings, and with a remarkably accurate eye for physiological detail" (71). Fanny Hill's use of euphemisms to make the novel comic and paradisaic, distinguishes it from other pornographic works. Since the euphemisms in the novel distinguish it from other pornographic works, critics have discussed how Fanny's language affects the sexual scenes she describes. Such criticism includes John Hollander's analysis of the euphemisms and metaphorical language that Fanny uses to describe her sexual adventures. Hollander believes that Cleland avoided taboo words in order to avoid prosecution. In his article "The Last Old Act," Hollander praises the language of the book as one of "its greatest virtues" (70). Although the sex scenes are graphic, poetic language is used to describe them. For example, when Fanny is sexually initiated into Mrs. Cole's household: "Kisses, squeezes, tender murmurs, all came into play, till our joys, growing more turbulent and riotous, threw us into a fond disorder'' (161). The language idealizes and glamorizes sexual acts, elevating them out of the lewd realm 4 of vulgar pornography. The language lends an appearance of cleanness and purity to the sexual relationships. Cleland's use of euphemisms in describing sexual acts creates images that are artistic images reminiscent of paintings and sculptures. As a result of this transcendence, the text can be viewed and appreciated as literature as well as pornography. The novel contains the elements of "sexual activities that can be seen pornographically and literary effects that can be seen aesthetically" (Shinagel 233). Other critics have side-stepped the question of the novel's literary merit, focusing instead upon its key place in the development of the novel. Fanny Hill is most often compared to Richardson's Pamela as a source text for Cleland to parody. Pamela
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