|
Corvey 'Adopt-an-Author'
Anna Brownell Jameson |
The Corvey Project
at Sheffield Hallam University |
How
does Anna Jameson construct and perceive female identity?
This essay will look at how Anna
Jameson’s construction and response to female identity evolved from the
publication of her first book, the fictional travel journal The Diary of
an Ennuyee (1826), to the techniques she adopted with her second
publication, the biographical volumes The Loves of the Poets (1829),
and finally at how the style and attitude towards female identity visible
within her first two publications developed throughout her life and career.
Biographical work constituted a
major part of Anna Jameson’s bibliography and within the formative years of
the Victorian era Jameson was a presiding force attempting to affirm the
multiple female identities within public print. To an extent Jameson does
seem to have catered to public taste. However, as a professional writer with
several members of her family to support as well as herself, how could she
afford not to? Within the 1840s and 1850s Jameson did on occasion deviate
from what was considered socially acceptable for woman writers to discuss,
in particular when she focused on social employment issues. I will discuss
this topic in more detail in the final section of this essay.
The Diary of an Ennuyee
was Jameson’s first book and was published anonymously in 1826 and
originally named A Lady’s Diary. The book was published under the
pretence that the diary was non-fiction and had been discovered by the
editor who then decided to publish the memoirs of the young lady, who had
died of a broken heart while travelling on the Continent. It appears that
Anna Jameson, writing her first piece of work, was unable to decide exactly
how to structure the text. As a result the reader is presented with what has
been described as an ‘odd hybrid’ (Mores, 1978:231). A piece of literary
fiction that pertains to be a diary, it is also in part a guidebook to Italy
which makes detailed reference to Italian museums and art history, In the
nineteenth century published diaries and travel writing were regarded as
low-status genres that were suitable for female authorship. They were
clearly not the genre to help one achieve respectable literary status. The
literary mix of fantasy and fiction had been an acceptable
eighteenth-century mode, but by the date of publication this was regarded as
very dated. The writer suppresses her actual status as a governess and
instead becomes a wealthy parentless spinster touring Italy, staying with
rich patrons and discovering its art for herself.
There is a strong conflict within
The Diary of an Ennuyee, because on the one hand the reader is presented
with an obviously very distressed melancholic female character, which forms
a strong contrast with, on the other, the interrupting voice of the author,
who gives detailed and passionate accounts of the sights she encounters.
There is a continual shift between these two very different female voices;
this creates a tension because of the two different female identities that
the reader is presented with. It seems as if Jameson cannot find a
believable balance between the female character she has constructed and her
own passionate accounts of her experience on the Continent. For example,
frequently when the narrator is enjoying a view, she claims that she cannot
do justice to what she is experiencing: ‘I have resolved to attempt no
description of the scenery’ (Jameson, 1826:41), then goes on to give a
lengthy elaborate and descriptive account of her surroundings:
‘But my pen is fascinated. I must note a few of the
objects, which struck me Today and yesterday, that I may at will combine
them hereafter ...the swollen and turbid Rhone, rushing and roaring along;
the gigantic mountains in all their endless variety of fantastic
forms...their summits now robed in curling clouds,...the little villages
perched like eagles nests on the cliffs far, far above our heads. (Jameson,
1826:41)
It also seems odd that someone like
Jameson, who seemed to be an extremely rational person, thought it was
plausible to depict a heroine who is so weak that she often has to delay her
travels for days until she is well again, but when in better health is
depicted as spending hours, roaming through art galleries, exploring Italian
cities, and enjoying several operas. At one point in Naples the Ennuyee
not only climbs Mount Etna but does so during an eruption:
I have just seen a most magnificent sight; one which I
have often dreamed of, often longed to behold, and having beheld never shall
forget. Mount Vesusvis is at this moment blazing like a huge furnace:
throwing up every minute. columns of fire and red-hot stones, which fall in
showers and bound down the side of the mountain... Half- past twelve --I
have walked out again: the blaze from the crater is less vivid. (Jameson,
1826:226-227)
It also appears as if Jameson made
her heroine suffer from her ailments when in areas that did not interest the
governess (such as Milan), only to recover to enjoy the delights of major
cities such as Florence, Venice and Rome.
The diary charts a time span from
21st June to 24th July of the following year, and appears to follow the
fashionable route taken by the English on the Continent. The Ennuyee
begins her travels in Calais, and briefly visits Paris before heading south
for Italy via Geneva. Once in Italy the heroine visits the major cities.
Starting in Milan, the party then travels to Verona before visiting Venice;
they then travel through the Apennines to Florence, and then Rome, before
arriving in Naples. She then follows a similar route on her return and bids
farewell to Italy in Genoa. The heroine ends her tour in Lyons and when are
led to believes she dies and is buried at Autun.
The text was inspired by Mme de
Stael’s Corinne, and can be seen as one of many English imitations.
Corinne had been a very influential text since its publication in
1807; the romance of Mme de Stael’s life was seen as blending ‘with the myth
of her heroine’ (Moers, 1978:178). Other important female authors of the
nineteenth century had admired and been influenced by Corinne:
Elizabeth Barrett Browning had read the text three times and recorded her
response to it in her own work Aurora Leigh, in which her own heroine
is of Italian descent. She revered Corinne as ‘an immortal book’ that
‘deserves to be read three score and ten times that is once every year in
the age of man’ (Moers, 1978:173). By 1808 Jane Austen had read and was
recommending the English translation of Corinne to friends. At one
stage in The Diary, whilst visiting Florence the heroine refers
specifically to Corinne:
Corinne I find is
fashionable vade mecum for sentimental travellers in Italy; and that I too
might be a la mode, I brought it from Molini’s today with the intention of
reading it on the spot (Jameson, 1826:116).
She then acknowledges how deeply the
Ennuyee empathises with the heroine of Corinne:
‘I know myself weak I find myself unhappy and to find my
own feelings reflected from the pages of a book in a language too deeply and
eloquently true is not good for me... I kindle my enthusiasm at the torch of
another’s mind I can suffer enough, feel enough, think enough without this’
(Jameson, 1826:116).
At stages in the text she is clearly imitating Mme de
Stael in Corinne. For example, Corinne’s heroine bids a
dramatic farewell to Rome by the Coliseum in the moonlight. In The Diary,
Jameson inserts a poem into the diary entitled A Farewell to Italy.
She also entitles a section of the text Paris by Moonlight and a
later section Florence by Moonlight. A Farewell
to Italy was actually published separately in
London Magazine shortly after her return from the Continent in 1822,
which suggests that Anna Jameson was not as she later termed it ‘Betrayed
into authorship’ (Jameson, 1829:ix) with the publication of The Diary of
an Ennuyee.
Both texts provoked powerful responses from female
readers. Fanny Kemble remarked that The Diary of an Ennuyee had
ignited in her ‘this desire for isolation and independence such a passionate
longing to go to Italy, that my brain was literally filled with chimerical
projects of settling in the south of Europe and there leading a solitary
life of literary labour’ (Thomas, 1967:39), evidence that both Mme de Stael
and Anna Jameson were responsible for inspiring their young female readers
to desire independence and want to travel and explore the beauty of Italy so
vividly depicted within The Diary. In Henry James’s short story
Daisy Miller the American heroine travelling through the Continent shows
the international influence Corinne and its imitations had when she
remarks in Rome ‘Well I have seen the Coliseum by moonlight! That’s one good
thing’ (James, 1878:68). The fact that James’s heroine, towards the end of
the nineteenth century, makes a reference to the beautiful imagery depicted
in Corinne, later imitated by Jameson in The Diary of an Ennuyee,
is evidence of the impact of this literature.
Like Mme de Stael’s heroine, the
Ennuyee is largely a mystery to her readers although we are told her
nationality. The text begins with the author bidding farewell to her English
homeland, although her past and even her name are concealed. The editor does
reveal the heroine’s age she is twenty-six at the time of her death; it may
be coincidental but this is also the age of Mme de Stael’s heroine and it is
one of the few details revealed within Corinne. The Ennuyee
never attempts to divulge information about her companions and instead
throughout the text Jameson disguises the characters’ names, frequently
deleting the last letters and leaving only the first letter of their names
for identification. However, occasionally she reveals identities, for
example Lord Byron (although the account of meeting Byron in Venice may be
part of the fabrication within The Diary; I have not come across any
sources claiming that Jameson met Byron while travelling the Continent). It
seems ironic that the idealistic governess romantically including Byron in
her text would later go on to have an extremely close friendship with his
wife Lady Byron. There are many strong indications of why Jameson would have
felt the need to imitate Corinne and would have empathised with both
the heroine and her creator. Ellen Moers believes that through Corinne
Mme de Stael helped to open the discipline of art history for women ‘when
there were no academic or curatorial posts available to them’ (Moers,
1978:187). Clara Thomas observes that Mme de Stael would be the perfect idol
for Jameson, being ‘a governess with a romantic imagination, intellectual
leanings and a degree of writing talent’ (Thomas, 1967:30).
Clara Thomas described The Diary
of an Ennuyee as a ‘Fictionalised travel-biography, dressed up with
Graveyard sentimentality’ (Thomas, 1969:29). The frail figure that Jameson
presents to her readers demonstrates many of the qualities one would expect
to find in a lady of sensibility. She is extremely susceptible to emotional
outbursts, very passive and demonstrates a ‘propensity to the tender
passions’ (Todd, 1986:111). The Ennuyee also suffers from
all the physical responses expected from a sentimental heroine, ‘tears,
blushes, palpitations, hysteria and even death’ (Todd, 1986:110).
The definition of sensibility
given in the 1797 Encyclopaedia Britannica is a ‘nice and delicate
perception of pleasure or pain, beauty or deformity, seems to depend on the
organisation of the nervous system’ (Todd, 1986:7); this certainly applies
to Jameson’s heroine: ‘The whispered voices and hard breathing of the men
who slept in the corridor, from whom only a slight door divided me,
disturbed and fevered my nerves’ (Jameson, 1826:88). Sensibility appears to
be physically connected with a state of the nerves that turns easily to
illness, exemplified by Mrs Bennet in Pride and Prejudice who
constantly complains about her nerves and consequently asks for delicate
treatment: ‘Don’t keep coughing so, Kitty for heaven's sake! Have a little
compassion on my nerves. You tear them to pieces’ (Austen, 1813:8).
With reference to the Ennuyee
this description is very accurate as her nerves and frail condition rendered
her often unable even to appreciate her surroundings. This is one of the
Ennuyee’s diary entries in Florence:
I have not written a word since we arrived at Sienna.
What would it avail me to keep a mere Journal of suffering? Oh that I could
change as others do, could forget such things that have been which can never
be again. That there were not this tenacity in my heart and soul; which
clings to this shadow though the substance be gone (Jameson, 1826: 310).
This shows how deeply the
Ennuyee’s melancholy affects her and often stops her from enjoying her
surroundings; her sadness rarely lifts, and increases towards the end of the
text as illness consumes her. These last pages are carefully constructed: as
the Ennuyee grows more and more frail she appears unable to write
more than a few lines at a time and longs to return to Italy. Her last lines
relay the physical pain at heartbreak she is experiencing.
No letters from England Now that is past, I may confess
that till now a faint a very faint hope did cling to my heart. I thought it
might have been possible but it is over now – all is over (Jameson,
1826:354).
At this stage the heroine appears to
be completely broken-hearted with the realisation that she has been totally
rejected by her lover, and when she states that ‘it is over’ it appears as
if she is talking about more than just her relationship: with this knowledge
she clearly loses the will to live and fight, and instead prepares herself
for death. ‘Yet if they would but lay me down on the roadside and leave me
to die in quietness is all I ask’ (Jameson, 1826:354).
The reader is then informed of the
Ennuyee's death through another insertion by the editor, who claims
that ‘four days after the date of the last paragraph the writer died at
Autun in her 26th year and was buried in the garden of the Capuchin
Monastery, near that city’ (Jameson, 1826:354). The cult of sensibility is
described as delivering ‘the great archetypal victims’ (Todd, 1986:9) and
presenting the suffering woman who is either happily rewarded for her pain
through marriage or in the case of Jameson’s heroine ‘elevated into
redemptive death’ (Todd, 1986:9), and in this instance this appears to be
the case: the Ennuyee has prepared herself for death as she is both
too weak and too miserable to endure life and the heartbreak that it brings
with it.
The clever use of the insertions by
the editor, and the skilful language and structure that Jameson uses,
demonstrate why contemporary readers may have been convinced that this was a
autobiographical diary. At no point does the writer imply that this is
fiction, and although there is a contrast between the melancholic Ennuyee
and the narrator who clearly revels in what she sees around her, readers
could easily have believed that this was the Ennuyee’s genuine
reaction to her surroundings on occasions when her illness was not as
painful. Jameson referred to The Diary of an Ennuyee in two of her
later publications. When The Loves of the Poets was published in
1829, Jameson was acknowledged on the front page as the author of The
Diary of an Ennuyee. She clearly felt the need to rectify her reputation
as an author and the misapprehension that she had caused with the anonymous
publication of The Diary of an Ennuyee. So in the introduction to
The Loves of the Poets Anna addresses her reader claiming that she had
written The Diary of an Ennuyee with no intention of publishing, that
she had been tricked into publishing The Diary of an Ennuyee, that
the editor had chosen the title of the book and she had been ‘betrayed into
authorship’. This was obviously a lie attempting to make amends with readers
who had felt deceived by the author. Famous figures who felt they had
suffered such a deception included Henry Crabb Robinson and Fanny Kemble.
Fanny Kemble, who first met Anna Jameson at a London party in 1828, remarked
‘The Ennuyee one is given to understand dies and it was a little
vexatious to behold her sitting on a sofa in becoming state of blooming
plumpitude; but it was some compensation to be introduced to her’ (Thomas,
1969:38).
Jameson demonstrates with this
publication that her construction and perception of a female heroine are
quite dated and they contrast very effectively with the construction of
female identity within the novels of Jane Austen. Though writing at least
twenty years before Jameson, Austen contrasts with Jameson, presenting the
reader with a satirical approach to sentimentality. Mrs Bennet in Pride
and Prejudice is clearly an example of a woman of sensibility,
particularly in regards to its physical implications. However, she is often
made to look absurd to the reader through the author’s contrast of her
character with her wry husband and also with her far more logical elder
daughters Elizabeth and Jane. Elizabeth Bennet, Jane Austen's favourite
heroine, rarely displays any of her mother’s sensibility, and it is instead
her lively wit, her individuality and frankness that endear her to readers.
Within Sense and Sensibility
we are presented with the contrast that the title conveys, Marianne Dashwood
is presented as a sentimental heroine: ‘her sorrows, her could have no
moderation...she was everything but prudent’ (Austen, 1811:6), but she is
continually juxtaposed throughout the text with her elder sister Elinor who
represents a far more sensible female figure. Marianne says:
And Elinor in quitting Norland and Edward cried not as I
did. Even now her self-command is invariable. When is she dejected or
melancholy? (Austen, 1811:35).
Marianne's passionate nature and
conviction in the importance of love is initially more appealing than
Elinor’s reserved manner:
Marianne burst forward with indignation –
“Esteem him! Like him! Cold-hearted Elinor! Oh! Worse than being cold
hearted! Ashamed of being otherwise! Use those words again and I will live
the room this instant” (Austen, 1811:18).
As the story develops Marianne’s
character slightly loses her appeal and romance, partly due to narrative
intrusion but also because the reader becomes aware that the hurt and
embarrassment Marianne causes for herself, is primarily due to her
sentimental tendencies. Subsequently Elinor’s refined and measured manner
becomes a more attractive trait. Elinor also deserves the readers’ respect,
because it is she who holds her family together after their father’s death,
taking care of the practical matters such as organising the family’s very
limited finances. Austen thus implies that in real life sensibility is not a
quality that makes your life easier, but rather in Marianne’s case that it
can be a very destructive force Her sentimentality is the cause of her
embarrassment, particularly when at a London ball:
Her face was crimsoned all over and she exclaimed in the
voice of greatest emotion “Good god Willoughby, what is the meaning of this?
Have you not received my letters? Will you not shake hands with me?”
(Austen, 1811:149).
Austen also uses the description of
Colonel Brandon’s first love Eliza as a negative illustration of the
potential demise of the sentimental heroine. Although Brandon loves Marianne
and admires her spirit, the story he tells Elinor describing Eliza (who he
likens to Marianne) implies that he is aware that a spirited woman can often
destroy herself if she is left to her own will. The girl he speaks of was
separated from Brandon when he was forced into the army; when he returned
the girl was pregnant and living in the poor house; and died shortly
afterwards, leaving Brandon to care for her orphaned daughter. The message
is clearly that sensibility is often detrimental.
Marianne’s sensibility becomes more detrimental towards
the end of the novel when it is feared that she will let heartbreak and
illness destroy her, when, consumed by her melancholy, she neglects her
health. The event of this illness stifles her romantic sensibility. Mary
Poovey describes this illness as ‘not only a result but also a purgation of
her passion’ for Willoughby ( Poovey, 1984:189). Marianne compromises
her sentimental nature at the end of the novel by marrying ‘silent and
grave’ Colonel Brandon (Austen, 1813:30) and trying to forget Willoughby and
his ‘manly beauty’(Austen, 1811:38). Jane Austen’s last satirical remarks
regarding Marianne’s new attachment to Colonel Brandon illustrate her
attitude regarding sensibility within female characters:
Marianne Dashwood was born to an extraordinary fate...
She was born to overcome an affection formed so late as seventeen, and with
no sentiment superior to strong esteem and lively friendship, voluntarily
give her hand to another ( Austen, 1811:321).
Anna Jameson displays a complex but ultimately negative
female identity within The Diary of an Ennuyee. We are shown a
heroine who is to an extent a positive figure for female readers, as the
Ennuyee is intelligent, articulate and independent. However, the
heroine’s sensibility ultimately destroys her spirit and because of the
structure of the text the reader is only ever presented with the diarist’s
perspective, so when she dies there is no narrative intrusion to observe
that a young girl dying of a broken heart is both tragic and futile. It is
understandable why sentimentality fared so badly with women who wished to
improve their position of their sex within society. In 1792 in A
Vindication of the Rights of women Mary Wollstonecraft argued that
rationality within women was the way to reform and condemned sensibility,
observing that:
Soft phrases, susceptibility of heart, delicacy of
sentiment and refinement of taste are almost synonymous with epithets of
weakness...those beliefs are only objects of pity will soon becomes objects
of contempt. (Wollstonecraft, 1792 citied in Todd, 1986:135).
Jameson, writing over thirty years after Wollstonecraft,
was responsible for representing to men a literary portrait of women as
irrational and sentimental creatures, who die if they have their hearts
broken. This served to give men a justification to keep women confined to
the domestic sphere, as this irrationality would be inappropriate within the
public sphere of nineteenth-century society.
The Loves of the Poets,
Jameson’s second publication, also explored feminine identity but in
contrast to The Diary of an Ennuyee the book was biographical,
producing insights into the lovers of famous male poets ranging from the
Greeks and Romans to the heroines of nineteenth-century contemporary poetry.
The Loves of the Poets was published in 1829, again with Henry
Colburn. It begins with a Mme de Stael quotation, showing the influence that
the author held on Jameson. On the title page Jameson is introduced to the
reader as the author of The Diary of an Ennuyee. She had obviously by
this stage felt some embarrassment as regards her first publication, and
attempted to make amends in a note at the beginning of the book entitled
Author to the Reader. She claims that the new book is merely a
collection of sketches and is written for a female audience, claiming that
all she wants is to illustrate the influence which the beauty and virtue of
women have exercised over the characters and writings of men of genius. She
says that she deserves little praise or reputation and sees herself as the
compiler of this historical information rather than a critic, but also
claims that ‘the pleasure of the task has compensated its difficulty’. The
author continues to insist that her role is insignificant and plays down any
importance ‘this little book’ may have. Jameson once again showed that she
was a writer who adapted her work to meet public taste.
Jameson did establish a respectable
literary reputation within the Victorian era. However, she was never a
maverick writer: she wrote to publish and to meet contemporary literary
demands, in order to support financially not only herself but also her
parents and unmarried sisters. She also provided for her niece Geraldine and
undertook the supervision of her education, when her father experienced
financial problems. Jameson and her husband Robert Sympson Jameson decided
to separate after she visited him in Toronto in 1838, where he was Attorney
General. Robert agreed to provide his wife with three hundred pounds a year,
but he failed to provide this money and when he died in 1854 in Canada, Anna
Jameson discovered she had been excluded from his will, and that his
property had been bequeathed to a married couple whom Anna had never met.
Although her literary friends provided her with an annuity of a hundred
pounds to supplement her income, and later she was given a yearly pension of
one hundred pounds a year from Queen Victoria, throughout her life Jameson
was never in a position where she could retire from working. Judith Johnston
comments that Anna Jameson ‘never failed to turn every journey into a
financial account’ (Johnston, 1997:101). This financial need could explain
her need to comply with the demands of readers
She demonstrated a tendency to save herself from
criticism by claiming that she was simply writing for women and claiming
that she was not a critic or a scholar. However, she then went on to use
academic referencing and footnotes when it was not expected, especially from
a female writer, and as Clara Thomas phrases it: ‘It was quite accepted for
lady writers of her day to romp happily through any and every source
plagiarizing as they would’ (Thomas, 1967:51). Therefore, Jameson had made
quite a clever move as she had presented the books in a way that would
ensure they would be assessed with low expectations, only to surpass
critics’ expectations when they examined the contents and appreciated her
detailed research. ‘Her attitudes were those which society in her day
expected of her they assured of admirers and readers and of a market for all
that she could produce. Most important, they aligned the weapons for, and
not against her’ (Thomas, 1967:51).
The content of the volumes shows Jameson taking a
personal interest in European poetry, but also reflects contemporary
interest by examining in great detail several Italian poets. In the first
volume of The Loves of the Poets there are 22 chapters. Within these
chapters, Jameson looks at eight Italian poets, three French, one Classical,
and focuses the rest of her attention on poetry from English authors. In the
second volume, she focuses even more on the work of Continental artists, the
volume comprising ten chapters, one of which focuses on Classical poetry,
one on German, four on Italian and four on English.
In the first chapter of the first volume Jameson
discusses the significance of female muses for male poets. She believes that
the inspiration that these woman give should be rewarded with their fame.
Although she does not say explicitly that this is her aim in writing The
Loves of the Poets, it would seem that supplying that fame is an
appropriate motivation for Jameson to focus so closely on the female
inspiration for poetry. Jameson asserts that the power of immortalising the
subject of your affection is the highest of ‘all the heaven-bestowed
privileges’ (Jameson, 1829:11). A theory that she develops and reiterates
throughout the volume is that when a woman has been bestowed with the
privilege of being immortalised by her lover through art she is subsequently
exalted above the rest of her sex.
Jameson romantically believes that ‘no woman has ever
been truly eternally defined within poetry without the spirit of truth and
of love’ (Jameson, 1826:12). When discussing the Classical poets Jameson
again states that she is writing not as a scholar but instead with reference
to both her subject and to her sex. The writer demonstrates the effect
Victorian Christian sensibility has had on her perception of the Greeks and
the Romans. She evidently believes that because of what she regards as the
immorality of the period the women were as a consequence degraded by their
lovers.
Jameson
seems far more comfortable discussing the depiction of women within amatory
poetry, believing that with the rise of Christianity in the twelfth century
and the institution of chivalry there was consequently a change in the moral
condition of woman; and that it was then, with the poetry of the
troubadours, that ‘in that era of love war and wild adventure, that the sex
began to take their true station in society’ (Jameson, 1829:16).
Jameson
often credits women as helping men to develop their genius, referring to
Spenser ‘and since we know that this development of his genius was owing to
female influence, his Rosalind ought to have been deified for what her
beauty achieved’(Jameson: 1829: 219). However, she never acknowledges these
women with the capacity to develop their own genius. Her style is biased and
she often raves about poets without displaying any objectivity:
At the very name of Sir Philip Sydney, – the generous
gallant, all accomplished Sydney, the roused fancy wakes, as at the sound of
a silver trumpet, to all the gay and splendid occasions of chivalry and
romance (Jameson, 1826:249).
However,
she is on occasion very critical, particularly with Dryden:
His ideas of our sex seem to have been formed from a
profligate actress and a silly, wayward, provoking wife: and we have avenged
ourselves, – for Dryden is not the poet of women: and, of all our English
classics, is the least honoured in a lady’s library (Jameson, (vol II),
1829:40).
Although
Jameson is obviously condemning Dryden’s low opinion of women, the
explanation given for his negative viewpoint is that the women he has
encountered (whom she criticises far more than the poet himself) are ‘silly’
and ‘wayward’. On the whole, Jameson presents a far more positive
interpretation of the male poets than their loves. This is mainly because
the women are regarded as the poets’ muses, who are rewarded for their love
by their immortalisation in verse. Jameson seems to feel that this should be
enough of a trophy for any woman. Therefore, this perception of female
identity is not overwhelming positive, as it does not really give the loves
of the poets’ their own individuality. However what is positive is that Anna
Jameson was attempting to explore female identity within literature in the
nineteenth century.
After the
publication of The Diary of an Ennuyee and The Loves of the Poets,
Jameson’s career really began to flourish and she wrote and travelled
extensively until her death in 1860. The next section of the essay will
focus on the later stage of her career and look at how her perception of
female identity developed.
After
The Loves of the Poets Jameson went on to write another book focusing on
female characters within literature. On this occasion she focused on
Shakespeare’s female characters, publishing Shakespeare’s Heroines:
Characteristics of Women, Moral, Poetical and Historical in 1832. The
volume included essays focusing on Helena, Hermione, Ophelia and Portia .The
book was significant because it was the first detailed study of
Shakespeare’s female characters as a subject in themselves, and it was also
the origin of subsequent studies of Shakespeare’s heroines. It was also
important because it was literary criticism about women by a female writer.
It was with this publication that Jameson attained real literary acclaim and
a European reputation.
Jameson’s criticism evolved from the passionate and very
personal responses that were frequently documented within The Diary of
the Ennuyee, to adopt a more sophisticated and critical approach.
Initially, Jameson became famous as an art historian for examining both
public and private collections within England. (Handbook to the Public
Galleries of Art in or near London (1842) and the Companion to the
Private Galleries of Art in London (1844)). She then focused on writing
a series of commentaries on European art, (Memoirs of early Italian
Painters (1845), Sacred and Legendary Art (1848)) that
accompanied many Victorians on their travels to Italy. Her art books became
very successful in both the United Kingdom and America, and her opinions
were influential for the formation of Victorian taste (Moers, 1978:179).
Jameson’s main career focus from the 1840s was art history, and she was
working on her major piece of work The History of Our Lord as
exemplified in works of art at the time of her death in 1860. The work
was completed by Lady Eastlake and published posthumously in 1864. The
commitment of her friends to publish her last piece of work is an indication
of their confidence in her ability.
Jameson also went on to write more
travel literature, but she never repeated the odd hybrid approach adopted
for The Diary of the Ennuyee. Instead she wrote strictly
non-fictional travel journals. Winter Studies and Summer Rambles is
probably her most famous travel journal, and was written about her
experiences in Canada in 1836 when she went to visit her husband. The book
is considered to be important because it was one of the first accounts of
Canadian society given by a woman. Jameson is regarded as looking at
Canadian colonial society with the degree of snobbery that would be expected
from an Englishwoman, but that her satirical treatment of society is Toronto
is still important as a historical account. Jameson was the first white
woman to make the arduous trip around Lake Huron, which falls under the
Rambles section of the journal. The publication of this book established
Jameson’s reputation as a professional travel writer.
As Jameson’s literary reputation
increased she became involved with many significant literary figures and key
movements of the nineteenth century. She was involved in the anti-slavery
movement in the 1840s and also was closely associated with Harriet Martineau,
who wrote Jameson’s obituary for The Express. It was Jameson and
Martineau who first realised from observing the situation within America
that there was a single woman problem, that the emigration of men to
frontier areas had lead to an artificial surplus of women within the UK and
New England. Also, middle-class men could often not really afford to marry
or if they could they could they often had to wait until they were in their
thirties. Men were conscious that they would be able to enjoy a higher
standard of living if they remained single as if they married they would
have to provide for their financially dependant wives and for any children
the marriage might produce. In Britain in 1851 men and women were on a ratio
of 100:96, and on average for every 100 women aged over 20 only 57 were
married. This meant that Victorian women could spend a large part of their
adult life single and without financial support. Immigration was a popular
but limited option, usually to areas such as frontier societies where there
were an unequal ratio in favour of men. The single women problem led to
questions concerning women and the prospect of their employment.
On 18th March 1843, Jameson first
published a piece of direct social criticism Condition of the Women and
Female Children anonymously in the Athenaeum series. Jameson had
observed that women were being forced into tiring and degrading work and as
a result, could not fulfil the romantic ‘mission’ at home that other writers
had written of. She wrote ‘The women’s mission of which people talk so well
and write so pretty is irreconcilable with women’s positions, of which
no-one dares to think and much less to speak’ (Helsinger, E. 1983:40). As a
result, Jameson refused to accept the poor conditions that working-class
women were subjected to and urged for these women to be given the legal,
financial and moral support that they needed.
Jameson seemed to have a gift for
forming friendships with young women, especially the daughters and nieces of
her female friends. In her later years, she grew close to the early feminist
circle that included Adelaide Procter, Anna Mary Howitt, Barbara Leigh Smith
Bodichon, and Bessie Parkes Belloc. It was Jameson who encouraged Parkes and
Bodichon to proceed with the English Woman’s Journal, and she
critiqued each number as it appeared until her death. Jameson also insisted
that these women should use wherever she was residing in England as the base
for their meetings. She referred to these younger women as her ‘adopted
nieces’, ‘good and gifted girls’ ( Johnston, 1997:219). It was this second
wave of feminists who would go on to re-evaluate the proposals of Jameson
and her peers concerning female employment.
Towards the last years of her life Jameson gave lectures
concerning important social issues, particularly the social employment of
women, and was regarded as holding views that corresponded with the first
generation of reformers. Her first public lecture, Sisters of Charity,
Catholic and Protestant at Home and Aboard, was delivered on 14th
February 1855 at the home of Elizabeth Jesser Reid, and it was published
later that year by Longman. In this speech Jameson addressed what she hoped
might be a ‘wiser future’; she stated her belief that middle-class women had
the right to work for society outside the domestic sphere, and that the
creation of new jobs for these women when they were not needed at home was a
positive thing. She felt that there should be a shared ethic of work and
that it was the duty of men and women to contribute directly to the larger
social good.
Jameson asked in her 1856 lecture
The Communion of Labour (which was also delivered at Elizabeth Reid’s
home) for the professional legitimisation of women’s service within
hospitals, prisons and reformatory schools. These areas had previously being
regarded as refuges for prostitutes, and therefore not respectable. The
typical image of the nurse was the Dickensian caricature of Sairey Gamp in
Martin Chuzzlewit: poor, uneducated and always morally suspect.
Jameson wanted middle-class women to extend their interests outside their
domestic sphere and to be able to work in these fields. She felt that
different kinds of work were suitable for men and women, and that the
primary importance for women was their domestic duties. ‘The man governs,
sustains and defends the family; the woman cherishes, regulates and purifies
it’ (Johnston, 1997:220). She referred to domestic life as ‘the communion of
love and communion of labour’ (Helsinger, (vol 20) 1983:132), and argued
that the essential truth of life was that all facets of life ‘will prosper
and fulfil their objects in so far as we carry out this principle in
proportion of the masculine and the feminine element’ (Helsinger, (vol 2)
1983:129). Jameson’s middle-class female social worker became a dramatic
reality in the Crimean War and the American Civil War. Florence Nightingale,
Clara Barton and Dorothea Dix all visited the wounded soldiers in the
hospital and also on the battlefield. Capturing the Victorian imagination
with this image of the ministering angel, the ‘Lady with the Lamp’ working
outside of the domestic sphere made nursing a respectable career for
middle-class women.
Jameson was also involved in the
1856 parliamentary petition that was created through the work of Barbara
Bodichon. The petition was against the inequalities of the property laws and
was signed by 26,000 women. Signatories included significant literary
figures such as Elizabeth Gaskell and Elizabeth Barrett Browning, as well as
Jameson (Helsinger, (vol 2) 1983:134). This petition was extremely
significant as its presence led politicians to re-evaluate the laws
concerning women, and in 1857 Sir Thomas Perry introduced a bill that
enabled married women to hold their own property, sign contracts and make
wills. This bill reflected the more significant role women had attained
within society; one MP remarked that the bill would place women in a ‘strong
minded individual position’ (Helsinger,(vol 2) 1983: 40).
There is a clear evolution from
Jameson’s attitude towards female identity in The Diary of an Ennuyee,
although there are positive elements to the story because nineteenth-century
women were able to sees a contemporary exploring the Continent and enjoying
its history and culture as an individual. The central focus of The Diary
of an Ennuyee is negative, as the reader is presented with a sentimental
heroine who cannot face life because she has been abandoned by her lover,
and after a year of melancholy and regret her grief completely destroys her
human spirit and she dies heartbroken at only twenty-six years of age. Here
Jameson is conveying the image of a female who cannot conceive of living her
life without her loved one and does not recover after she is discarded. This
message contradicts the events of Jameson’s own life as she too failed in
her relationship but in contrast to her Ennuyee went on to live a
productive and colourful life without a male companion from her separation
in 1838 until her death in 1860. In fact it was not until after her
husband’s departure for Dominica in 1829 that Jameson’s literary career
really flourished, and from then on she both wrote and travelled
extensively. In reality Jameson benefited from her married title because it
gave her the respectability she needed as a writer, and also enabled her to
travel independently. In The Loves of the Poets Jameson only covers
the work of male poets and although she discusses women in depth they are
never individuals but always attached to they men they love. Their fame
comes not because they have earned it through individual merit but because
their lovers have immortalised them through their verse. Although Jameson
portrays these women as beautiful and fortunate muses they are not at any
stage throughout the volumes given greater depth.
Both of these depictions of women
contrast with Jameson’s own thoughts on female identity towards the end of
her career. In her last speeches Jameson was asserting the need for women to
live outside the domestic, private sphere that they had been confined to and
that through ‘The communion of love and the communion of labour’ they could
achieve a balance between their home life and their career. Jameson believed
that it was an ‘essential law of life’ that women worked even after they
were married to contribute to the greater social good. Jameson not only
spoke of this potential within women but she also exemplified it herself,
providing a living not only for herself but also for her siblings and
establishing herself as a multi-faceted professional writer within the
confines of the Victorian era, and as a result her proposals were regarded
with more merit. Thus Jameson clearly demonstrated within herself an
extremely positive female identity.
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