Nazlpnar 1 Muzaffer Derya Nazlpnar Dr.

Gamze Sabanc Contemporary Approaches in Literary Criticism 27th February 2012

THE THEME OF WOMENS LABOUR IN GASKELLS NORTH AND SOUTH Reading Elizabeth Gaskell in the 2000s is a startling experience, because the writer once perceived as the quintessential Victorian lady can now be seen to confront problems familiar to contemporary women, problems of which are still attempting to solve. Successful at coordinating domestic duties and career, Gaskell fits the image of superwoman, a term used in the 1970s to denote a woman who could effortlessly merge her public and private roles. However, Gaskell has been long overestimated, and unfortunately, she has not always been taken as seriously as she deserves. Indeed, she has been misrepresented as docile and submissive limited by conventionality and by a religious orientation. Yet, given the constraints of Victorian culture, Gaskells novels may in fact be seen as radical, because they challenge widely held assumptions about the nature of women, their propose sphere, and their participation in labour. Gaskells treatment of work, in particular, is revealing, for it can serve as a testing-ground for her attitudes and purposes. Work, after all, is a site where the dominant ideology operates as it encodes separate roles for men and women. By examining the theme of womens labour in Gaskells North and South, this study will try to show the dimensions in her thinking and art that have not been fully recognized by the critics. Gaskell lived in a century which was riddled with change based on industrialization and its dramatic effects on the organization of labour, so her fiction is in many ways a response to changes which were occurring in her lifetime. Discussions about the work during

Nazlpnar 2 the Victorian period proceeded under the assumption that the worker is male. For example, Carlyle links true work with masculine power as he invokes an image of a work force heaving, struggling, all shoulders at the wheel; their heart pulsing, every muscle swelling, with mans energy and will warriors in the true war (230). On the other hand, the identification of labour with masculine failed with the actual participation of women in the labour force. Within the factories, in increasing numbers, were female workers who had to work despite the low wages and little prestige. More hidden was the labour which women performed inside home. Not surprisingly, the issue of womens work became a topic which sparked much passionate discussion, because according to domestic ideology in Victorian society, being a wife or being a mother was itself a vocation. While mens work met with social approval, womens participation in the work force was often viewed as the source of social problems, particularly the degeneration of the family. The effect of such an ideology was not to separate women from the workplace but to separate them from power (Swindell 1986). Popular fiction during Victorian period took a similar stance toward working women. Writers frequently represented womens victimization as resulting from their work, but the subject of work was particularly relevant for women writers, who experienced personal conflicts because of their desire to be regarded both as domestic and womanly, and also because of their need as artists to assert themselves in the performance of work. For example, Charlotte Bronte focuses on this traditional conflict in the partly autobiographical Jane Eyre, in which the kind of work that is accessible to Jane does give full play to her talents and faculties. For Bronte, womanly and artistic duties were perpetually in conflict. Likewise, in Writing Beyond the Ending, Rachel Du Plessis points out the dilemma of the Victorian women in a culture which severely limits their choices: lacking serious options in work, she must define herself through romantic choice. As Du Plessis states, there were only two

Nazlpnar 3 rightful endings of nineteenth century novels about women: successful courtship and marriage or death, both of which are resolutions of romance. The search for an independent purpose, for a lifes work, which was such an important part of masculine self-definition, was socially unacceptable for women. Women artists who were not satisfied with the narrow boundaries of experience prescribed for women either expressed in their fiction the frustration of being denied the opportunity of defining ones own work, or more rarely, offered an alternative view of importance of a new kind of work for women. Against this background, Elizabeth Gaskell is an example of the latter. Unlike her contemporaries, Gaskell presents the process of finding ones vocation as central to a womans life. While she does not eliminate courtship from the female narrative, neither does she offer it as the sole interest in a womens life. Also, unlike many other women writers, Gaskell views womens labour as generally empowering and enriching. Her characters have such a measure of control over the circumstances of their lives. In this sense, Gaskell is interested in presenting her female characters as powerful, by exploring the process by which they choose a direction of their lives, Gaskell links womens work with their empowerment. In her life, as well as in her fiction, Gaskell was interested in creating arrangements that would make it possible for women to have marriage and family in addition to some sort of separate vocation. Despite the unconventional nature of Gaskells proposal, she was extremely successful having it all in an era which did not recognize womens need for an identity separate from their roles in the family. What is remarkable about Gaskell is that she managed to maintain both a respectable public image as a devoted Victorian wife and mother and to create a surprisingly modern household in which it was possible for her to pursue her chosen vocation of writing. Most important, she dared to suggest fulfilling possibilities for women which her culture had not imagined.

Nazlpnar 4 Gaskells particular advantages as an upper middle-class woman, besides her personal skill in turning her personal circumstances to her own advantage, enabled her to write. Moreover, her educational experiences and the perspectives she absorbed from her Unitarian training gave her the confidence in her own gifts she needed in order to attempt writing. Especially, Unitarianism freed Gaskell from some of the conventional and limiting views regarding womens proper activities. One of Gaskells letters contains an explicit statement about her view of work: I do believe we all have all some appointed work to do, which no one else can do so well; what we have to do in advancing the Kingdom of God; and that first we first find out what we are sent into the world to do, and define it and make it clear to ourselves, (thats the hard part) and then forget ourselves in our work. (Letter 68) Gaskells ideas about the issue of work for women and her belief in womens potential for labour is clearly seen in one of her second industrial novel, North and South. In this novel, coming from a more genteel family background, Margaret Hale undergoes the process of defining her proper work, firmly rejecting the notion that idleness is fitting to a lady and coming to understand that she is responsible for her own life. A clergymans daughter, Margaret moves with her father to industrial Lancashire, where her former comfortable life of privilege and freedom is replaced by the rigors of urban life in perception of power, willingly accepting the task of mediating between the agricultural South and the industrial North. Initially an outsider, Margaret Hale moves between the two classes, serving as an effective intermediary who promotes communication and understanding. Margaret comes to see herself as involved in the public sphere and abandons the position of observer. Although sometimes this creates dilemmas and even pain, it is also an enlargement of identity for Margaret. The novel traces the maturation of Margaret Hale, whose comfortable life of privilege and freedom is replaced by the rigors of urban life. An overriding theme is Margarets efforts

Nazlpnar 5 to define her own work and to carry it out. In the process of discerning her proper work, Margaret rejects the notion that only domesticity is fitting to a lady, and comes to understand that she herself must one day answer for her own life and what she had done with it (275). Rosemarie Bodenheimer suggests in The Politics of Story in Victorian Social Fiction that Margarets struggle to define her life is presented as a battle against forms of idleness and observes that how she is to spend her days is an explicit issue in the novel (63). Actually, this is clear from the opening chapter, Haste to the Wedding, in which Gaskell contrasts Margaret and her cousin, Edith, whose days are largely spent dressing for, going to and recovering from balls. By linking daytime drowsiness with an indolent and luxurious existence in some of her women characters, Gaskell aims to portray her protagonist, Margaret, as deviating from Victorian norms of feminine behaviour. For Margaret, marriage is not the primary end of her existence. She defines herself against the Victorian standard that would require women to be continuously on display as candidates in the marriage market and conceives new possibilities for herself and other women, because these preparations are the never-ending commotion about trifles that had been going on for more than a month past ... oppressed [women] (7). Although Margaret displays more depth of a character and intellect than the sociallyconstructed females, she still lives a similarly privileged life in a country parsonage, Helstone, where her days are filled visits to the rural folk taking them food, reading to them, nursing their children. In her visits, Margaret seems to perform useful social work, but her position in relation to her neighbours is that of gracious patroness obtained due to being the daughter of a minister. That is, Margaret does not have a self-constructed aim and identity. It takes several crises for her to get rid off from this narrow field of action, and to pass into a setting where she can find her own work. The first is her fathers announcement that he can no longer be a minister in the Church of England, and the consequent necessity of leaving Helstone. Her

Nazlpnar 6 fathers decision to confide in Margaret about his intentions throws more responsibility on her. He even confers the task of enlightening Mrs. Hale on his daughter. A process of individuation and distancing begins for Margaret when she is forced to take a leading role in the planning of move to Milton because of her mothers illness. Reflecting on her former lie, she realizes the irreversible change has occurred: She felt that it was a great weight suddenly thrown upon her shoulders. Four months ago, all the decisions she needed to make were what dress she would wear for dinner, and to help Edith to draw out the lists of who should take down in the dinner parties at home. Nor was the household in which she lived one that called for much decision. (31-32) Within patriarchal family, Margaret has been sheltered and protected from difficult decisions, but this step taken with the move to Milton, now Margaret could work, and act, and plan in good earnest(32). For the first time in her life, Margaret takes a leading role in directing the shape of events as they relate to her family. Margarets new-found authority begins to extend outward, as she interacts with those outside her family, and this extension grows bigger when she settles down Milton. Upon arriving the hotel where the Hales are staying temporarily, Margarets straight, fearless, dignified presence (39) influences John Thornton, the wealthy manufacturer, and he is rather taken aback because Margaret seemed to assume some kind of rule over at him at once (39). Thornton immediately realizes that Margaret is no ordinary woman and responds to her powerful presence. Similarly, when the doctor comes to see her mother, Margaret quickly takes over him with an air of command (81), and wants him to tell her the truth about the illness of her mother as she is capable of handling them. The doctor is honest with her and leaves feeling great admiration for the strong young woman. Her mothers terminal illness is another major crisis that requires Margarets energies and shows her what she is capable of. Caring for mother requires

Nazlpnar 7 Margaret physical as well as emotional stamina, particularly as she cannot share the trial with her father, who is not as strong as Margaret. In fact, while relating the scenes in which Margaret tends her ailing mother, Gaskell tries to respond her cultures association of true womanliness with the sick chamber. In contrast to Sarah Ellis, who believes that nursing is the sphere within which true womanliness develops, Gaskell does not glorify the self-sacrificing which is a requirement of tending the sick. Nor does she sentimentalize it as anything less than arduous, draining labour. Margaret needs strength to be an effective nurse, and she develops into even stronger woman as a result of the experience. Faced with the necessity of performing physical work, Margaret comes to believe that labour is not incompatible with being a lady, because she is now sure that she can have it all (273). Living in Milton gradually leads Margaret to view herself as a woman who works, especially her friendship with a working-class woman, Bessy Higgins, supports Margaret while she moves toward her chosen work slowly. With her rural background, Margaret is at first somewhat shocked at the manners of the urban working class, but then, her friendship with the Higgins helps and strengthens her as she faces the difficulties. In order to be effective in her new environment, Margaret must learn to accommodate herself to the working class. Through Bessy, Margaret discovers the value of female friendship based on shared experience, which involves for both women sacrifice and work. As Bessy shares the details of her gruelling life with her new friend, Margaret recalls with some shame those former days when other people were hard at work in some distant place, while [she] just sat on the heather and did nothing (65). The longer Margaret lives in Milton, the more she adapts the industrial setting and its language, her attitudes and behaviour change as she earns a right to speak for the workers. A wave of strikes provides Margaret to take the position of a mediator between the masters and the workers since she knows the both sides very well. Now, Margaret has a chance to use her

Nazlpnar 8 domestic skills out of the house to authorize herself as an expert, masculinised observer of the social (Elliott 27). Realizing that the private sphere cannot remain inviolate from the conflicts of the public sphere, she takes up the issue with John Thornton, forcing him to examine and justify his own actions. When the strike reaches its peak, Margaret urges Thornton to face them like a man and encourages him to speak to [his] workmen as if they were human beings (117). As a social mediator, Margaret is very skilful to understand and communicate with both sides, because she is familiar with each sides language and attitudes. Most importantly, she has the force connecting public and private life (Elliott 41). Now, Margaret is in the territory which is considered by the Victorian society to be off limits to women. However, Margaret is very content with this new sphere, in which women, like men, share common human responsibilities (Lansburry 1975). Based on these responsibilities, Margaret persuades John Thornton accept help from herself, a woman, and teaches him about new social possibilities. By doing so, through Margaret, Gaskell inverts the conventional notions of gender by showing a woman instructing a man. Regarded among his fellows as a man of great force of character; of power in many ways (107), Thornton at first resists Margarets attempts to involve herself between workers and employers. When an ominous crowd gathers outside the Thorntons house, threatening the lives of the wealthy family inside, Margaret chooses to make a public appearance before the mob. Relying on a womans presumed inviolability to shield Thornton, she steps between him and the enemies. When he tells her, Go away... This is no place for you, she encounters, It is. You did not see what I saw (118). A pebble grazes Margarets head, knocking her down, and she suffers the humiliation of being misunderstood for her effort to defend Thornton. Yet, she expresses scorn for conventional standards for femininity: I would do it again, let who will say what they like of me. If I saved one blow, one cruel, angry action that might otherwise have been committed, I did a woman's work (126). When Margaret takes the powerful position of

Nazlpnar 9 public mediator, she relinquishes her immunity from the scrutiny of many eyes, and makes herself the subject of all kinds of disturbing speculations. Gaskell is explicit on this point: If she thought her sex would be a protection,--if, with shrinking eyes she had turned away from the terrible anger of these men, in any hope that ere she looked again they would have paused and reflected, and slunk away, and vanished,--she was wrong. (118) Margaret is stared at, physically wounded, and finally proposed to all as a consequence of her presence on a public stage. In her treatment of john Thorntons response to Margarets act, Gaskell indicates that the interpenetration of the public and private. Interestingly, Margaret asserts the public nature of her behaviour while Thornton wishes to see her behaviour as only an expression of private feeling. When he declares his love to her, she immediately resists, denying her conduct was a personal act and insisting that any woman, worthy of the name of woman, would come forward to shield ... a man in danger (129-130). He, on the other hand, claims the right of expressing [his] feelings (130). In this scene, gender distinctions get turned completely upside down as the woman takes a public stand on behalf of a man, and a man speaks for romance, the centre of the private world. As a result of Thorntons declaration, Margaret is forced to confront her acknowledged feelings about him. The memory of Margarets action makes her even more desirable to him, and her preoccupation with his reaction to her leads her to self-understanding. One implication here seems to be that the benefits of acting in the public sphere will ultimately outweigh its costs. Although Thornton resists the idea that women have a public function, he is more willing to make an exception for an exceptional woman like Margaret, who comes to see herself as a reconciliation and change. Thornton accepts Margarets assessment of the public situation and moves toward a possible solution by offering work to Higgins, thereby initiating a system in which managers and workers will form personal relationships.

Nazlpnar 10 Gaskell sets in motion a series of events inverting conventional expectations involving both gender and class. First, she represents a woman, rather than a man, initiating a change in the way public affairs are conducted. Secondly, she represents a manager seeking to placate a worker, rather than the other way around. Here, Gaskell tries to show how change breeds more change and how a shift in the power structure can lead to more equitable social arrangements. The resolution of the novel continues the pattern of inversion and points to the inextricable union of the public and private through the marriage of the central characters. Though the ending is so conventional in accordance with the Victorian romance, and gets the reactions of some feminist critics claiming that this marriage instates Margaret and Thornton within the private rather than the public sphere, Gaskell uses marriage as an expression of her stated social agenda serving as a mask that naturalizes what is unconventional in her vision of womens role and a metaphor for the newly constructed social sphere demonstrates both the possibilities and the limitations of that space for a middle-class women(Elliott 47-49). Despite these limitations and difficulties, Gaskell affirms that it is possible to create better social and private arrangements, and that the two spheres are tied together. That is, although sometimes she is harshly criticised due to her conventional ideas, Gaskells willingness to challenge the assumptions of her culture, particularly in regard to received ideas about the role of women in the workplace, makes her engaging figure for the future readers. It is an undeniable fact that, Elizabeth Gaskell, through her character Margaret Hale, at least challenges the expectations of her patriarchal society and presents an alternative representation of women and womens realities.

Nazlpnar 11 Works Cited Bodenheimer, Rosemarie. The Politics of Story in Victorian Social Fiction. Ithaca: Cornell University Press, 1988. Carlyle, Thomas. The Collected Letters of Thomas and Jane Welsh Carlyle. Vol. 23. Ed. Jane Welsh Carlyle. Durham: N.C. Duke UP, 1970. Cecil, David. Victorian Novelists. Chicago: University of Chicago Press, 1934. Davis, Deanna L. "Feminist Critics and Literary Mothers: Daughters Reading Elizabeth Gaskell." Signs 17.3 (1992): 507-32. DuPlessis, Rachel. Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers. Bloomington: Indiana University Press, 1985. Elliott, Dorice Williams. The Female Visitor and the Marriage of Classes in Gaskells North and South. Nineteenth-Century Literature 49.1 (1994): 21-49. Ganz, Margaret. Elizabeth Gaskell: The Artist in Conflict. New York: Twayne, 1969. Gaskell, Elizabeth. North and South. Middlesex: Penguin Books, 1995. ______. The Letters of Mrs. Gaskell. Ed. J.A.V. Chapple and Arthur Pollard. Cambridge: Harvard University Press: 1967. Huber, Caroline P. "'Heroic Pioneers': The Ladies of Cranford." Gaskell Society Journal 21 (2007): 38-49. Lansbury, Coral. Elizabeth Gaskell. Boston: Twayne, 1984. Swindell, Julia. Victorian Writing and Working Women. Minneapolis: University of Minnesota Press, 1986.