The “F word” and 18th- and 19th-Century Heroines of English Novels

The “F word” and 18th- and 19th-Century Heroines of English Novels

by Assel Surshanova

The infamous “F word,” feminist, gets a wide range of reactions from people when they hear it. Some think of feminists as the ones who hate men, some think of feminists as the ones who burn bras, so it is important to provide a definition of feminist before deciding whether a particular literary character is one or not. Simply, a feminist is someone who supports feminism. What is feminism then? According to the Stanford Encyclopedia of Philosophy, “feminism is both an intellectual commitment and a political movement that seeks justice for women and the end of sexism in all forms” (McAfee). I believe Jane Eyre is the first real feminist heroine in the novels from this period because throughout the novel she is the one to fight against unfair treatment and the social expectations she faces and to preserve her independence; however, other heroines are not ignorant of feminist ideas. This essay will prove why is it fair to call Jane Eyre a feminist and provide a comparative analysis of the heroines in Richardson’s Pamela, Burney’s Evelina, Austen’s Emma, focusing on the ways in which their stories and voices are connected to women’s social status and to modern feminist ideas.

To begin with, it is important to understand what life for a woman was like in 18th– and 19th-century Britain. Porter gives a lucid description of women’s social position during that time period:

Public life on a grand scale was a men-only club (as were almost all clubs themselves). There were no female parliamentarians, explorers, lawyers, magistrates or factory entrepreneurs, and almost no women voters… A woman hoping to be accepted as an intellectual had to run the gauntlet… Public opinion tight-laced women into constructive roles: wives, mothers, housekeepers, subordinate workers, domestic servants, maiden aunts… Such stereotyping created a kind of invisibility: women were to be men’s shadow.

At that time woman’s only possible success was predicted by her marriageability, which was determined by the combination of the following factors: her family, available finances and, most importantly, appearance (Moglen 107). This was the world female heroines of the course had to live in. It is crucial to consider the historical background when analyzing the characters in 18th– and 19th-century novels because the one who is feminist in the context of that time might not be so in the modern sense. However, the core of feminist ideas is the same: equality of rights.

Pamela, the main character of Richardson’s Pamela, or Virtue Rewarded, insists on staying true to her morals despite her master’s demands, similar to Jane. On one hand, Richardson supports through Pamela’s character the “assumption that sexual violation means moral ruin” (Rogers 260), which is against modern feminist ideas. On the other hand, her defense of virtue in a sense of physical virginity can be interpreted as her moral belief. And she has a right to stand for her morals when others try to violate them. The way Pamela sticks to her morals is admirable. In the letter to her parents she writes: “I will die a thousand deaths, rather than be dishonest any way” (47). Moreover, when her master tries to kiss her against her will she speaks up against such treatment: “Well may I forget that I am your servant, when you forget what belongs to a master… I will be bold to say, I am honest, though poor: And if you were a prince, I would not be otherwise than honest” (55). Although her actions might be considered as feminist from one perspective, they were mostly dictated by her religious beliefs and not her beliefs in the equality of the sexes and her self-worth. There’s not a letter where she would not mention God. Her thoughts and actions are motivated “by God’s grace” (47).

The next heroine is Evelina, the central character of Evelina: Or, a Young Lady’s Entrance Into the World byFanny Burney. Evelina’s behavior against the social expectations was a result of her unfamiliarity with the rules of conduct of London’s fashionable society; however, she indirectly expresses some feminist ideas. At the private ball, Evelina refuses the first man but accepts the next gentleman.  It could viewed as a feminist move to choose to dance with whom you want as freely as men did, but, in Evelina’s case, her action was not a manifest declaration of the equal rights of men and women; she simply did not know it was not allowed at assemblies. However, noteworthy are Evelina’s thoughts about how the ball is conducted:

The gentlemen, as they passed and repassed, looked as if they thought we were quite at their disposal, and only waiting for the honor of their commands; and they sauntered about, in a careless, indolent manner, as if with a view to keep us in suspense… and I thought it so provoking, that I determined in my own mind that, far from humouring such airs, I would rather not dance at all. (37)

Evelina understands the sexism of the situation and does not want to participate in such activity (although she does, eventually). Evelina’s understanding of the situation’s sexism and unfairness can be connected to feminist ideas.

The third heroine is Emma from the eponymous novel by Jane Austen. Although Emma’s attitude towards marriage presents her as a feminist, it originates from her secure financial and social position; also, her relationship with Harriet is another reason why she is not a feminist. Moffat points out that “Emma speaks of marriage as a choice rather than necessity” (46):

I have none of the usual inducements of women to marry. Were I to fall in love, indeed, it would be a different thing! But I never have been in love; it is not my way, or my nature; and I do not think I ever shall. And, without love, I am sure I should be a fool to change such a situation as mine. (84)

Moffat also mentions that “[Emma] thinks of herself as a man’s equal” (46).  For example, she considers herself as an equal to Knightley in a conversation: “We always say what we like to one another” (10). One might conclude that Emma is a feminist; however, in my opinion, her attitude towards Harriet revokes such assertion. Emma neglects the signs of Harriet’s affection to Robert Martin and decides to match her with Mr. Elton. Her reasoning behind that was: “He had a comfortable home for [Harriet]… and a very sufficient income” (35). What Emma considers a matter of feelings for herself is the matter of practicality for Harriet. I think, as a feminist, Emma would apply the same principles to other women despite the social class disparity. Emma’s class consciousness is another obstacle to calling her a feminist, as feminism is about equality for everyone.

Finally, Jane Eyre, from the eponymous novel by Charlotte Bronte, is the first real feminist. Jane creates her destiny against the rules predetermined by society and stays true to her principles. She decides to leave Lowood after realizing: “it was not enough: I tired of the routine of eight years in one afternoon. I desired liberty; for liberty I gasped” (103). Jane refuses to be Rochester’s mistress although as he mentions she has “neither relatives nor acquaintances whom [she needs] fear to offend by living with [him]” and decides to leave him despite her feelings:

while he spoke my very Conscience and Reason turned traitors against me and charged me with crime in resisting him… ‘tell him you love him and you will be his. Who in the world cares for you? Or who will be injured by what you do? Still indomitable was the reply – ‘I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself. I will keep the law given by God; sanctioned by man. I will hold to the principles received by me when I was sane and not mad –as I am now…If at my individual convenience I might break them, what would be their worth? They have a worth –so I have always believed; and if I cannot believe it now, it is because I am insane…Preconceived opinions, foregone determinations, are all I have at this hour to stand by: there I plant my foot. (382-83)

Pamela and Jane both insist on staying true to their morals; however, compared to Pamela, although Jane’s persistence also has roots in her religion, its true power comes from her respect for herself and her realization of self-worth and the value of her beliefs. Jane thinks of herself as equal to Rochester despite his higher social class: “Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong — I have as much soul as you, — and full as much heart” (305-06). This differs from Evelina’s sense of inferiority after finding out the high social rank of the man she danced with: “That he should be so much my superior every way, quite disconcerted me” (39). Similar to Emma, Jane does not want to get married only because she has to. One might argue that Jane is not a feminist because she does not seek justice in other public spheres, and Martin made a good point on this:

The novel is frequently cited as the earliest major feminist novel, although there is not a hint in the book of any desire for political, legal, educational, or even intellectual equality between the sexes. Miss Bronte asks only for the simple — or is it the most complex? — recognition that the same heart and the same spirit animate both men and women, and that love is the pairing of equals in these spheres. (93)

In conclusion, all heroines discussed in this essay are important to the development of the feminist movement later in the 19th century. All of them incorporate some feminist ideas and have similarities with Jane: Pamela keeps honest to herself, Evelina understands the unfairness of social rules, Emma sees marriage as a choice. However, Jane is the one to unite the feminist ideas of the time and rebel against social norms. Therefore, it is fair to say that she is the first “real feminist” among these heroines.

Works Cited

Austen, Jane. Emma. Oxford: Oxford UP, 1933.

Brontë, Charlotte. Jane Eyre. New York: Vintage Books, 2007.

Burney, Frances. Evelina, Or, a Young Lady’s Entrance Into the World.  New York: Penguin Books, 2012.

Martin, Robert B. Charlotte Brontë’s Novels: The Accents of Persuasion. London: Faber & Faber, 1966. Internet Archive. https://openlibrary.org/books/OL26574582M/The_accents_of_persuasion_Charlotte_Bront%C3%AB’s_novels._–

McAfee, Noëlle. “Feminist Philosophy.” The Stanford Encyclopedia of Philosophy. Fall 2018. Ed. Edward N. Zalta. https://plato.stanford.edu/archives/fall2018/entries/feminist-philosophy.

Moffat, Wendy. “Identifying with Emma: Some Problems for the Feminist Reader.” College English 53.1 (1991): 45–58. JSTOR. www.jstor.org/stable/377968.

Moglen, Helene. Charlotte Brontë: The Self Conceived. New York: Norton, 1976. Internet Archive. https://archive.org/details/charlottebrontes00mogl/page/54

Porter, Roy. English Society in the Eighteenth Century. New York: Penguin Books, 2001. OverDrive. https://www.overdrive.com/media/466674/the-penguin-social-history-of-britain.

Richardson, Samuel. Pamela; Or, Virtue Rewarded. New York: Penguin Books, 1980.

Rogers, Katharine M. “Sensitive Feminism vs. Conventional Sympathy: Richardson and Fielding on Women.” NOVEL: A Forum on Fiction 9.3 (1976): 256–270. JSTOR. www.jstor.org/stable/1345466.