The Individual And Society In 19th England

The nineteenth century was a time of significant upheaval, embodied by individuals challenging the institutions of the Victorian era and striving to achieve self determination. The conflicting relationship between the individual and society becomes apparent through analysing the individual’s confrontation with the orthodox economic and philosophical Victorian paradigms. Elizabeth Gaskell’s novel, North and South (1855), Richard Redgrave’s painting The Outcast (1851) and Ada Nield Chew’s letter A living Wage for Factory Girls at Crewe (1894) critique the dominant attitudes of society, emphasising the importance of the individual to seek autonomy for social progression to occur as well as self satisfaction.

Elizabeth Gaskell reflects the dominant philosophical ideology of patriarchy and gender dominance in Victorian society through her Bildungsroman novel North and South (1855). Margaret’s characterisation symbolises the confinement of individuals, especially females, Gaskell describing “a sense of indescribable weariness of all the arrangements…oppressed her [Margaret] just now”. The aural effect created by the use of dilatory works is exigent in itself whilst the use of “indescribable” compounds the extent to which Margaret feels burdened by the social expectations to indulge in the “prettiness” of the wedding. Gaskell acclaims Margaret to seek autonomy through portraying her interests to subvert the social dictums of conversation, “she was glad when the gentlemen came…because she could listen to something larger and grander.” The assonance of “larger and grander” alludes to Margaret’s ebullience of male discussion. Gaskell reveals that Margaret gains self satisfaction through subverting her role the domestic sphere, commented as being “their sphere of action was at their own firesides” by Sarah Ellis in her essay, The Women of England (1839). Furthermore, Gaskell commends Margaret’s self determination through juxtaposition, describing “Fanny had returned, screaming…and had thrown herself in hysterical sobbing on the sofa” when the riot begins in contrast with Margaret’s astounding courage “She threw her arms around him; she made her body into a shield” and faced “the angry sea of men”. The use of imperative tone and personal pronouns describes Margaret’s control in facing the men, described through strong imagery, whereas in contrast Gaskell portrays Fanny to mirror the notion of femininity being fragile and irrational. Gaskell portrays Margaret to finally achieve a level of self determination, “So Margaret gained the acknowledgement [from Mrs Shaw] of her right to follow her own ideas of duty”, the personal pronoun “her” emphasising Margaret’s newfound sense of autonomy, and her acceptance by Mrs Shaw being symbolised by Gaskell to reflect that an individual can still participate in society, despite some independence. Therefore Elizabeth Gaskell’s North and South exemplifies that through the individual gaining a level of autonomy, the struggle between the individual and society can be resolved and self satisfaction also achieved.

Richard Redgrave’s painting, The Outcast (1851) exemplifies the interminable conflict between the individual and society that results, when the individual overtly challenges dominant attitudes prevalent in society. Redgrave’s painting demands sympathy from responders as it depicts a young mother, standing in the face of darkness as her father shuns her and forces her illegitimate child out of the house. The father, symbolic of the social doctrine of patriarchy, commands a central position and is the focus of the triangular vector created in the painting. Furthermore, the father’s prerogative is displayed by the symbolism of his pointing finger, while his other hand firmly holds the door, creating a barrier between the young mother and her family. Redgrave further comments on the injustices of society whilst also implying that an underlying hypocrisy prevalent in patriarchy. As, Hae-In Kim wrote in Pre-Raphaelites, Aesthetics and Decadents (2004), “Redgrave sought to alter this traditional depiction to include an awareness of social injustices- often alluring to the fact that in every ruined woman’s story there lay a guilty man.” Redgrave challenges Victorian gender ideology by alerting responders to the fact that the man should have been equally accountable, yet it is the woman who will be punished for her infidelity. Through his painting, Redgrave represents the unforgiving nature of society towards an individual radically challenging social paradigms, in contrast to Gaskell’s portrayal of Margaret who is successful and gradually assumes her position as an autonomous individual in nineteenth century society.

Gaskell also encompasses the changing economic climate of Industrialising England in her novel North and South, illustrating the inherent clash between the individual and society due to the intolerant attitude towards economics. Mr Thornton symbolises Adam Smith’s dominant Laissez-Faire policies, in which “wages find their own level”, and defensively tells Margaret “We, the owners of capital, have a right to choose what we will do it with it”, his repetition of the personal pronoun “we” with his short defined phrases, contributing to the sense of division between masters and men. In contrast, Nicholas Higgins strongly opposes the rule of the masters stating, “We’ll just clem them to death first; and then see who’ll work for вЂ?em then.”. Gaskell portrays Higgins and Thronton to have very similar personalities, though polar attitudes towards each