Coverture and Vocie in Mary Wollstonecraft's Maria And
Total Page:16
File Type:pdf, Size:1020Kb
ABSTRACT MARRIED SILENCE: COVERTURE AND VOCIE IN MARY WOLLSTONECRAFT’S MARIA AND JANE AUSTEN’S PERSUASION This thesis explores the relationship between the marital common law of coverture and the expression of women’s audible and rhetorical voices. This law, which contributed to the silencing of women in both public and private spaces, is portrayed in the novels of Mary Wollstonecraft and Jane Austen. Taking two different approaches in discussing marriage, these authors focus on wives’ lack of voice and power. Wollstonecraft’s Maria, or the Wrongs of Woman illustrates the wrongs women suffer at the hands of tyrannical husbands, while Austen’s Persuasion focuses on the importance of women’s voices, emphasizing the rights women enjoy because of weak or absent husbands. Wollstonecraft fails to present a sustainable environment where her heroine can exercise autonomy outside of patriarchal power or permission and Austen’s production of marriages in which husbands are dependent upon their wives suggests that freedom in marriage only comes with weak husbands. Ultimately, neither author is able to present a realistic, applicable representation of marriage where women have equal power and voice, illuminating just how complex the issue was, and still is, for women. Misty Pauline Lawrenson May 2018 MARRIED SILENCE: COVERTURE AND VOCIE IN MARY WOLLSTONECRAFT’S MARIA AND JANE AUSTEN’S PERSUASION by Misty Pauline Lawrenson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English in the College of Arts and Humanities California State University, Fresno May 2018 APPROVED For the Department of English: We, the undersigned, certify that the thesis of the following student meets the required standards of scholarship, format, and style of the university and the student's graduate degree program for the awarding of the master's degree. Misty Pauline Lawrenson Thesis Author Steve Adisasmito-Smith (Chair) English Ruth Jenkins English Melanie Hernandez English For the University Graduate Committee: Dean, Division of Graduate Studies AUTHORIZATION FOR REPRODUCTION OF MASTER’S THESIS X I grant permission for the reproduction of this thesis in part or in its entirety without further authorization from me, on the condition that the person or agency requesting reproduction absorbs the cost and provides proper acknowledgment of authorship. Permission to reproduce this thesis in part or in its entirety must be obtained from me. Signature of thesis author: ACKNOWLEDGMENTS I would like to thank my chair, Dr. Steve Adisasmito-Smith, for taking me in halfway through this project and guiding me toward completion. His encouragement, insight, and guidance gave me the tools and confidence I needed to write what I knew I could write. I would like to thank my committee members, Dr. Ruth Jenkins and Dr. Melanie Hernandez, for their feedback and direction as I revised, refined, and expanded my argument. To Dr. Jenkins, who I first met 14 years ago in an Introduction to Literature class, you are the first professor who told me that my voice counted and the ideas I had about literature were valuable. Thank you for helping me to remember that my voice still matters. To Dr. Toni Wein, thank you for introducing me to Mary Wollstonecraft and the laws which surrounded women and for the great amount of time you gave. I thank my parents for their unwavering and unconditional support. To my husband, Dustin, when I first started on this journey, I don’t think either of us really knew what we would go through and where it would lead us. I am comforted to have you by my side. Thank you for being willing to reevaluate the traditional roles of husband and wife and for stepping up to the task of taking care of our children, and for doing dinners, bedtime, and dishes. Thank you for your support in those dark moments, your strength in the trying ones, your cheers on the bright days and your love and support through it all, I love you. To my youngest and only son, Thaddeus, you have been a significant part of my master’s experience. I will forever treasure our drives to school together, playing endless games of “I spy” and “knock-knock.” Finally, to my girls, Brooklyn and Lillian, my hope is that you will never lose your voice, that you will stand tall and always, always speak your mind. You motivate me to move forward—I dedicate this work to you. TABLE OF CONTENTS Page CHAPTER 1: INTRODUCING VOICE .................................................................. 1 CHAPTER 2: WOMEN AND THE LAW OF COVERTURE ............................. 13 CHAPTER 3: WOLLSTONECRAFT’S COVERED MARIA ............................. 20 CHAPTER 4: AUSTEN’S SILENCED ANNE ..................................................... 40 CHAPTER 5: CONCLUDING BUT NOT DONE SPEAKING ........................... 59 WORKS CITED ..................................................................................................... 63 CHAPTER 1: INTRODUCING VOICE When asked to reflect on my childhood and teenage years, I repeatedly recall the same image: I am standing with a group a people, screaming as loud as I can but not a sound is heard. The anger and frustration I see on my face is compounded with the claustrophobia and powerlessness I feel as I strain to hear my own soundless voice. The longer I stand silently screaming, the more people crowd around me, talking over and above me; neither noticing nor hearing what I so desperately want to say. Some feminist authors, writing about female experience, address women’s oppression in both explicit and implicit ways. In their writings, they use their own voices to critique practices that damaged and silenced women. Mary Wollstonecraft and Jane Austen, separated by about 20 years are two such writers whose approaches and methods are different, both address the problematic issues of women’s subjugation and voice in marriage. Wollstonecraft explicitly spoke out about women’s suppressed position most notably in her prose, A Vindication of the Rights of Women (1792) while Austen and her marriage plot novels took a more implicit route. Although it is not common to discuss these authors side by side, doing so reveals two writers who challenge their readers to reconsider the institution of marriage as it was commonly practiced, the effect it had upon women’s voices, and the moves women made in an attempt to maintain and regain their voice. The need to study and speak about women’s voices in marriage is motivated by a frequent phenomenon seen throughout history and more disturbingly, witnessed in the twenty-first century. When some women become engaged to be married, often behavior and personality change. I have frequently 2 2 observed a once outgoing, sometimes even irreverent, fun young lady quickly become reserved, quiet, and timid. She may express feelings of happiness, yet she defers to her fiancée repeatedly, he becomes involved with everything she does, and after they marry, her friends never see her. She abandons her educational aspirations and career goals, trading them in for laundry soap and bathroom cleaner, criticized when she laments what she has lost. She struggles to move past conservative teachings about the roles of husband and wife in a family; roles summed up in the phrase, “Husbands are the head of the home and the wife is the heart.” A statement such as this implies a man is responsible for taking care of his family, to preside over his home, and his wife is a nurturer, taking care of the children and seeing to a clean home and healthy meals. As if a wife is incapable of being in a position of power and influence and a husband void of tender feelings and actions, young girls are instructed that their primary responsibility will be in the house, cornered and silenced into domestic roles. Many wives accept their fate and stifled voices. When considering voice and what it means, it is crucial to understand that I define it and refer to it in two different ways: rhetorical and audible. The audible voice is the vocal noise a woman generates when she speaks, the fluctuation of speech, pitch, and volume. It is a sound she makes in both public and private spaces. Rhetorical voice is the meaning and influence of her audible voice; it is representative of her thoughts, desires, persuasions, and autonomy. A key aspect of a woman’s rhetorical voice is the power it displays through motivation to action. Unfortunately, few women have been able to fully express such a voice. Even though historically most women possessed an audible voice, that voice was restricted as far as when it could be revealed and limited in what it stated. In other words, although a woman was granted permission to use her audible voice, she 3 3 usually could only say those things society deemed appropriated. Even though she spoke, her rhetorical voice was silenced because if her rhetorical voice expressed that which was contrary to acceptable speech, it was almost never given a platform for expression, nor did it empower action. In those cases when a woman’s voice was either manipulated or completely silenced, a few women often looked for alternate ways to communicate their rhetorical voices. In my search to understand why women struggled with the expression of both their audible and rhetorical voices, I discovered the marital common law of coverture. Under the law of coverture, husbands gain control and possession of their wives’ movable goods, the wife does not possess a legal identity, nor does she have rights to her own money. Coverture only applied to married women (femes covert), as single women (femes sole), were able to maintain control of their own possession, moveable goods, and income. This law, often referred to as a legal fiction, nevertheless practiced as common law in Early Modern England, lasted legally until the enactment of the 1870 Married Women’s Property Act, saturated English culture and challenged women’s autonomy and voice.