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No Delicate Flower: Victorian Floral Symbolism's Mediation of Social Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-10-2017 10:30 AM No Delicate Flower: Victorian Floral Symbolism’s Mediation of Social Issues in Selected Works of Elizabeth Barrett Browning, Alfred Tennyson, John Ruskin, and Isabella Bird Bishop Christine Penhale The University of Western Ontario Supervisor Dr. Matthew Rowlinson The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Christine Penhale 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the English Language and Literature Commons Recommended Citation Penhale, Christine, "No Delicate Flower: Victorian Floral Symbolism’s Mediation of Social Issues in Selected Works of Elizabeth Barrett Browning, Alfred Tennyson, John Ruskin, and Isabella Bird Bishop" (2017). Electronic Thesis and Dissertation Repository. 4990. https://ir.lib.uwo.ca/etd/4990 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract No Delicate Flower: Victorian Floral Symbolism’s Mediation of Social Issues in Selected Works of Elizabeth Barrett Browning, Alfred Tennyson, John Ruskin, and Isabella Bird Bishop examines floral symbols in the writings of four Victorian authors. Although a large body of work exists on the Romantic literary symbol, its Victorian counterpart is often ignored: Barrett Browning, Tennyson, Ruskin, and Bird Bishop use floral symbols in their work as outward-looking instruments, in contrast to the more inward-looking Romantic symbol, to help understand changing social conditions and address real-world concerns. Although the use of the literary symbol changes from the Romantic to the Victorian period, flowers are constant, paradigmatic symbols that function as a means of important cultural critique. Chapter one provides context for this project by offering an overview of the Victorian symbol and the language of flowers. Chapter two examines Elizabeth Barrett Browning’s floral symbolism in “Lady Geraldine’s Courtship” (1844) and Aurora Leigh (1857), focusing on the way the poet adds to the transcendent Romantic symbol by looking beyond the symbol to real-world issues, such as unjust social practices, specifically those targeting women. Chapter three examines how, in Alfred Tennyson’s minor poems, floral symbols model the social unification he advocates. Chapter four analyzes Maud (1855), in which Tennyson alters his use of the floral symbol to stress the impossibility of unification in a world gone mad. Chapter five moves away from poetry to prose to explore John Ruskin’s The Queen of the Air (1869); Ruskin wields the floral symbol to try to unite God and humankind in a time rife with religious doubt brought about by advances in science. Lastly, chapter six provides a postcolonial reading of Isabella Bird Bishop’s The Hawaiian Archipelago (1875). When Bird i Bishop visits Hawaii, she carries Victorian floral symbolism with her to critique the inhabitants’ morality and to reinforce existing power hierarchies between Britain and the global South. Keywords Elizabeth Barrett Browning, Alfred Tennyson, John Ruskin, Isabella Bird Bishop, Victorian Poetry, Victorian Literature, Floral Symbol, Flowers, Language of Flowers, Social Issues, Cultural Critique ii Acknowledgments As Marcel Proust once wrote, “Let us be grateful to the people who make us happy; they are the charming gardeners who make our souls blossom.” Without the help and support of the following people who make my “soul blossom,” this project would not have been possible. I am forever grateful to Dr. Matthew Rowlinson for his guidance, insight, and encouragement. Years ago my friend Serina offered me invaluable advice: PhD program completion can hinge on the student/supervisor relationship. She could not have been more right. Matthew is exceedingly generous with his time, often meeting with me weekly to brainstorm ideas and provide feedback on my research and writing. A huge thank you to Matthew for going above and beyond. Many thanks as well to Dr. Donna Pennee, my second reader, whose constructive feedback on my work pushed me to new heights. Donna’s generosity and encouragement will never be forgotten. My love for studying literature began in high school under the guidance of my English teacher Mr. Josiah and was later reignited by Dr. Karen Selesky, my honour’s program supervisor and mentor at the University of the Fraser Valley: I thank them both for changing my life’s trajectory. I owe a debt of gratitude to the Western University English Department staff—Leanne Trask in particular—for helping me successfully navigate the program. This project would not have been possible without funding from Western University and the Ontario Graduate Scholarship Program: thank you for the confidence in my work and the financial support. Moving across the country to pursue my PhD was an excruciating decision, and I thank my family for their encouragement and love. Thank you to my parents, Margaret and Bill Pastorek, for their support and unconditional love. I am grateful for the kindness of my brothers, Bill, Doug, and Mike, who never fail to lend an ear or a dose of humour when needed. Most importantly, I thank my son, Alex Penhale, for being a kind, selfless, and iii hilarious young man who brings me immense joy. When I was struggling over the decision of whether or not to move away for school, Alex explained, “It’s okay mom. Sometimes in life people have to do hard things for a short while and it pays off later.” When your teenaged son can offer such sage advice, you feel as though you will burst with pride. I love you, Alex. Both new and old friends have helped me through many stages of this project. When I was assigned Madison Bettle as a Grad Buddy upon arrival to Western University, I won the Grad Buddy lottery. I am grateful to Madison for her enduring friendship and huge heart. Many thanks as well to Kirin Rogers for her humour, advice, and the countless hours we spent working in Starbucks celebrating our shared love of chai. Kate Traill brightens my time in London, never failing to awe me with her brilliance or lift my spirits with her entertaining insights. This project was also made possible by the encouragement of friends from afar. I thank Adrea Johnson for supporting me throughout each of my degrees. It has been a gift to navigate this journey with her, and every message I receive from Adrea brings me joy. I am indebted to Michelle McLeod for her encouragement over the years and for believing in me when times were tough. A heartfelt thank you as well to Serina Patterson: her kindness, humour, and advice have made both my academic journey and life a pleasure. I am grateful for having Jessika Rowley in my life. I recall with love the innumerable hours we spent working together in the “fish bowl” at the University of the Fraser Valley during our undergraduate degree. Jessika’s strength in the face of adversity, kind heart, and adventurous spirit inspire me. Last but definitely not least, I thank my partner Rick Pfeiffer for making the last years of my academic journey brighter. I am grateful for Rick’s unwavering support. Who knew that a shared love of Words With Friends could lead to where we are today? You truly make my “soul blossom.” iv Table of Contents Abstract ................................................................................................................................ i Acknowledgments .............................................................................................................. iii Table of Contents ................................................................................................................ v Chapter 1 ............................................................................................................................. 1 Introduction: The Victorian Floral Symbol ........................................................................ 1 1.1 The Breakdown of the Romantic Symbol ................................................................ 1 1.2 The Victorian Symbol: In the Shadow of the Romantics ........................................ 3 1.3 The Victorians and the Floral Symbol ..................................................................... 5 1.4 Chapter Overview .................................................................................................. 12 Chapter 2 ........................................................................................................................... 15 A Rose Read: Beyond the Symbol in Elizabeth Barrett Browning’s “Lady Geraldine’s Courtship” and Aurora Leigh ....................................................................................... 15 2.1 Barrett Browning’s Reinvigoration of the Symbol ................................................ 15 2.2 “Lady Geraldine’s Courtship”: A Ballad for the Empowerment of Women ......... 21 2.3 The Statue of Silence Speaks ................................................................................. 23 2.4 Proliferation of Excessive, Empty Symbols .......................................................... 27 2.5 Women’s Symbolic Empowerment ....................................................................... 29 2.6 Aurora Leigh and the
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