* * * This Is A Work In Progress * * *

                Commentary on the Text

 

    In the mid nineteenth century, the Victorian woman’s dress reflected her social standing in England. Her clothing mirrored the idea that she should be confined to the domestic sphere, represented by whalebone corsets, tight lacing, bustles, heavy petticoats, and impractical shoes.  These limited the movement of women in the city, therefore keeping them present, more often, in the home. In contrast the New Woman was a combination of the Victorian mindset and a new rational way of dressing and living. In 1851 Punch published “Woman’s Emancipation” a political cartoon portraying a radical woman smoking in her bloomers in public. She is fore grounded as displaying very masculine qualities including her stance as well as her actions. This was one of many cartoons published in Punch and other publications mocking the New Woman and Amelia Bloomer, in 1897 almost 50 years later, Punch ran a similar cartoon titled “Fashion a la Shakespeare” which also shows a woman in bloomers next to her bicycle looking very masculine.

            In 1849 Amelia Bloomer introduced the “Bloomer Outfit” in America as a more practical alternative to the dress of the Victorian aristocracy.   The “Bloomer Outfit” consisted of:

“A pair of Turkish pantaloons, wide and nearly meeting the shoe, of such material and texture as the season demanded, and of a hue adapted to the taste of the wearer; and a garment nearly fitting the person, buttoned, or permanantly closed on all sides, extending just below the knee, of a material and texture that would ward off the chilly atmosphere, colored and ornamented to suit the fancy of the wearer.” [1] ]

This fashion was considered radical and not widely accepted. Not only did it fuel the ideals of the New Woman, it also caused an anti-feminist movement.  This change was particularly emphasized in the literature being published at the time.

            The “New Woman” ideals became relevant largely due to their prominence in Thomas Hardy’s novels.  The heroines present in his novels often displayed characteristics deemed feminist, and independent:  Strong-headed, fawned over by men – yet indifferent, or even cold, to the attention, and skeptical toward marriage.  These were traits, in the opinion of many of his readers, which fit into the mold of what was considered the ideal “New Woman.” 

However, Thomas Hardy was not solely responsible for the prominence of the “New Woman” in literature, nor was he viewed, by some readers and critics, as writing characters which displayed traits of the “New Woman” at all.  His heroines were often viewed, by some, as “men’s women” – and despite being seemingly brave, cynical towards marriage, and concerned with feminist issues, were not, according to some, adequately encompassing of the “New Woman” ideals as often thought.  Male reviewers described many of Hardy’s heroines as “pagan” “capricious” and “vagrant.”  Some women readers, in response, deemed Hardy’s characters as inadequate “New Woman” ideals – and refused to consider them role models in any sense – due to the fact that despite the two most prevalent ideals of the “New Woman”, sexual morality and cynicism towards marriage, being ever present in his characters, these two traits alone were not necessarily deemed feminist by all – especially when lacking the more admirable qualities in feminists such as bravery, and independence.

            In 1881 the feminist movement became popular in England and the Rational Dress Society was formed. At this time an anti-tight lacing and corset movement was already in progress. The women of this society advocated a more healthy and realistic way of dressing that would eliminate the need for the corset, which signified an unhealthy obedience to society. Victorian women would often remove their bottom two ribs to obtain the ideal sixteen inch waist, leading to illness and even death. Emily King, a leader of the Rational Dress Society called for a reform for the “lady-like dress”, she also suggested split pants as a solution for women to ride the newly created bicycle.

            The bicycle became an emblem of the feminist movement during the 19^th century. [2]  Women were able to move freely through the country, often without male chaperones. This newfound transportation generated a feeling of strength and liberty among women. Women were wearing “split pants,” which were simply a skirt cut into two and sewed together. These pants were associated with masculine qualities, and were thought to violate gender roles. It was also thought that as women began wearing trousers, as well as other men’s clothing, that they were also assuming men’s behavior in addition to their dress. That is why the “New Woman” and rational dress were considered dangerous changes in Victorian Society.

                Works Cited

 

Cunningham, Gail. The New Woman and the Victorian Novel. United States: Harper & Row Publishers Inc, 1978.

Marks, Patricia. Bicycles, Bangs, and Bloomers. Lexington, Kentucky: University Press of Kentucky, 1990.

Mullenix, Elizabeth Reitz. Wearing the Breeches. New York: Saint Martin’s Press, 2000

Wosk, Julie. Women and the Machine. Baltimore, Maryland: The John Hopkins University Press, 2001.

                Project Group Members

Member Name	University	Course
Heather Scott	Western Washington University	ENG 310
Rose Slaton	Western Washington University	ENG 310
Marie Silvis	Western Washington University	ENG 310

     Project Completed: Winter 2008

 

 

                Group Chat

 

Use this chat room to facilitate collaboration if you are working on this project from multiple locations. [Please don't delete these directions.]

 

Plugin error: That plugin is not available.