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Please enter your User Name, email ID and a password to register. International Shipping at best shipping prices! Notify Me We will send an email as soon as we get it in stock. In the s certain middle-class women began to exercise the supposedly angelic feminine qualities of love, emotional understanding, moral purity, and humanitarian service in a wider sphere than the home by undertaking philanthropical work in charitable organizations and antislavery leagues or by becoming teachers, writers, social reformers, and, by the turn of the century, gynaecologists and pediatricians. He used the realist novel to explore, among other contradictions, the tension between the conflicting imperatives that constituted the bourgeoisie's ideal of womanhood.
Indeed, such evidence as we have about the writer's conscious ideological orientation points in a very different direction. He published articles and novels in two women's magazines which were specifically devoted to promoting the cult of the angel wife-mother: It has become fashionable recently to talk of what is called women's emancipation, as if man had ever ceased to be your slave.
As its title suggests, it idealized maternity and the notion of separate spheres. Intellectually, it was a relatively progressive journal but was nevertheless careful to present a social agenda that was moderate to conservative. Such absurd claims could not have been further from my mind! Subscribing to the notion that women's reproductive function barred them from intellectual work, the author asserted that "no produce la mujer ideas. Debiera tenerse siempre presente la frase de Michelet: One should always bear in mind Michelet's phrase: Finally, in case there should be any doubt about his position, Serrano stigmatized feminists as promiscuous: If she must be educated, she must know her condition.
It is the so-called social question which figures more prominently on his personal horizon, the fragility of bourgeois order in the face of the growth of working class militancy; he states in that he feels society to be on the edge of a volcano. He gives the impression of inhabiting an all-male world, rarely mentioning feminine figures. These massive omissions are themselves significant, in light of the ferment of discussion going on at the time. Entitled "La rosa y la camelia," it is an allegory of two types of woman: He reworks a motif common to nineteenth-century bourgeois writers in his attack on the women of the upper class as living a life of lax morals and frenetic sociability; he bends history to his argument by suggesting that society women who took lovers were the artificial and unhealthy innovation of the nineteenth century.
The rose, in contrast, is healthy, warm, open to the approach of its natural partner in reproduction, the bee, and maternally prolific:. Sencilla, pero siempre bella, nace y abre al sol su corazon y permite a la abela penetrar en su seno. No hay duda de que la rosa es la flor mas bella de la creacion. Simple, but always beautiful, she is born and opens her heart to the sun and allows the bee to penetrate into her bosom.
The rose is without a doubt the most beautiful flower in creation. In contrast, the camellia, which the narrator terms "the aristocratic flower," and "the prostituted flower, the shameless flower; the flower without a family" —3 is overeroticized, dangerously beautiful, languid, consumptive: He taxes the society flower with pride, arrogance, and habits of self-display.
The contest between the merits of the two flowers that the narrator invites us to witness is a transparent opportunity for him to glorify the virtues of mothers of modest households and to revile their vitiated antitheses, associated with the mores of high society. The rose has thorns to protect her virtue, while the camellia, who lacks such protection and was raised in a hothouse, is easily picked by anyone. The camellia, as an artificial creation, is sterile: Crucially, the camellia, for all its superior beauty, has no perfume, whereas the rose has the sweet odour of sanctity: He describes the heroine:.
Llevado este tipo al teatro por un esplotador de la grosera realidad, puede set muy pernicioso a la joven de su sexo. This type, which has been brought to the stage by a writer who exploits the ugliness of reality, could be very harmful to young women. A Woman's Torture is anti-family. It appears that the famous French journalist enjoys attacking the holiest of institutions.
By prostituting the mother and wife, Girardin has destroyed the family through her and the noblest attributes of woman herself. This early insistence that representations of. He characterizes the women's movement as an absurdity thankfully absent from Spain: It is true that recently a deformed growth has appeared, an aberration called the socialist woman. The narrative conjures up a dry scientist, poring night and day over his books and causing his wife to endure the "terrible privation" of childlessness Constitutionally incapable, like all her sex, of dealing constructively with boredom 43 , the neglected wife is faced with only two choices: She opts for the latter.
On her husband's death, however, her unctuous professions of religiosity fade. She remarries and proceeds to bear a child every. Efectivamente, parece natural que la frivolidad femenina se encuentre fuera de su centro en reuniones de tal especie. Our readers will be surprised to learn that the fair sex was admitted to a political meeting, against the laws of custom, which have always elected woman from any place designed for dealing with serious matters.
Indeed, it seems natural that feminine frivolity would be out of place in such meetings. Women are life's delight; they stimulate great and small ambitions; they are the source and fountainhead from whence all virtues flow. The most glorious triumphs of good are women's work; private miseries and public catastrophes are our fault.
It is their ineluctable destiny to love man; and he should devote to them all his intelligence and his whole heart; a sovereign cult from which we should only excuse those women who, deformed by false pietism, become shrewish, dried up, and disagreeable. Significantly, he used women to illustrate his point: The day will come when young ladies with diplomas will be sculpting busts of their papas and composing the polkas they will dance with their beaux.
By the s he favoured broadening women's education, and began to seem troubled by his realization that there was a sexual double standard of morality; [15] yet he opposed feminist demands for equal education and conceded the need for wider opportunities for paid employment for women only as a lesser evil than prostitution.
His praise for the notoriously progressive School for Governesses is double-edged: It contains copies of key works by some of the most influential proponents of the domestic ideal: Most telling is his possession of an edition of The Select Works of Mrs. Ellis — was one of the mostly widely read writers of feminine conduct literature in the English-speaking world.
She produced the famous series Women of England , Daughters of England , Wives of England , and Mothers of England , in which she defined the angelic ideal to middle-class women readers. The more conventional works on femininity far outnumber the emancipationist ones: In its way this is as much a political manoeuvre as his friend Leopoldo Alas's subsequent vituperative attack on women writers. The work of most of the women who write well suffers from the intellectual conditions and the modesty peculiar to their sex. It is the class which administers, which teaches, which debates,.
At the same time that the essay confidently proclaims the bourgeoisie as monolithic, however, it betrays moments of uncertainty. The domestic life of the middle class is a constant source of concern: Female infidelity is a major social evil, threatening to dissolve the structure of the bourgeois family: To lend form to all these things must be the chief aspiration of contemporary literature []. He represents the novelist as both neutral observer and mirror, impartially reproducing the chaos of life through the transparent medium of language: As Terry Eagleton points out, "the ideology of the text is not an 'expression' of authorial ideology.
Terry Lovell contends that as the bourgeoisie came to terms politically and socially with the older landed sections of society, the novel, in order to establish itself as literature, began to distance itself from capitalism and to undertake a critique of bourgeois values. Nor, despite the narrower range and more explicitly political focus of his early novels, can we consider them to be as monolithically univocal as has been supposed.
Doncellas Cautivas
Making gender the central category of analysis reveals uncharted levels of complexity in the deceptively simple thesis novels and highlights the fact that literary texts are always ineluctably complicit in the production and reproduction of multiple ideologies, often in ways unintended by the author. Yet the way in which the texts invite this allegorical feminization of Spain itself begs for a further reading, one which calls attention to their relation to the system of sex and gender character-. Focusing on this occluded ideological level in the texts allows us to perceive the diverse and polyphonic nature of these early narratives.
In an emblematic moment of anagnorisis, we learn that questions of class and gender have been the prime movers of a social drama ostensibly centered on religious behaviour. These novels follow what Nancy Miller terms a "dysphoric" rather than "euphoric" plot structure. The texts' construction of their religio-political allegories is successful thanks to the mobilization of a whole set of assumed values and conventions of gender.
If heroines such as Rosario and Clara act as allegories of liberal "Spain in captivity," as Stephen Gilman suggests, they are successful in arousing the readers' indignation because their conventionally feminine innocence and purity make them blameless victims. They are presented as being more easily destroyed, more vulnerable in their physical and mental integrity, than their male counterparts. Through love, unwittingly they become entangled in politics, about which they remain ignorant until the end.
Their role is to suffer and wait, confined within the household, while the hero, outside, struggles with their adversaries and agitates for their release. The feminine antithesis of the impressionable, docile heroines of the early novels is the type of perverted womanhood represented by. Wooed by the impetuous liberal Pepe Rey, the angelic Rosario is a hapless pawn imprisoned by her evil mother in a struggle between the forces of reaction and progress. It is the flawed angel who comes to dominate his narratives, rather than the perfect one: Marianela, a fragile, self-abnegating child-woman, is, despite her moral beauty, poor and physically ugly.
Gloria has an independent and intellectual nature. In the revised version the heroine Clara's story concludes in marriage and rural domesticity, whereas in the earlier version her lover is assassinated and she herself dies of grief. The treatment of the heroines obeys a different code. Both texts stage a subliminal debate about true womanhood that centers on a dialectic between the social and the private, reputation versus individual moral worth. Each novel broadly upholds the premises of conventional gender ideology but advances the potentially revolutionary notion that purity of soul overrides breaches of feminine decorum, and even in the case of Gloria the loss of chastity itself.
In these novels, the cause of female suffering has shifted at least partly beyond that of the evil machinations of some depraved antithesis to that of oppression at the hands of a system: The bourgeois feminine role appears in these novels both as an ideal and as a cause of female dissatisfaction, and the redemptive value of female suffering is no longer always clear. In Gloria this dual dynamic is particularly clear. The text itself has an early alter ego, the manuscript of a lost novel recently rediscovered.
The ambiguity that fuels this change is a central feature of the published novel. The first few pages of Gloria set up a dialectic of presence and absence, affirmation and denial, which is to characterize the novel. There is a play between various different and more or less ostensibly reliable levels of narrative voice. To begin with, the narrator pretends to be physically accompanying the reader as an interpreter and guide, as we walk towards the town where the events of the novel are to unfold.
The capacity to fluctuate between different levels of personal and impersonal narrative presentation takes an important role in the work's first part, since it enables the narrative both to mount and to undercut a potentially polemical critique of middle-class culture's view of woman's place. She is young, pallid, and beautiful, comes from a respectable middle-class household, and is "buena, piadosa y honesta" kind, pious, and virtuous [].
She has domestic instincts, rising at the crack of dawn to attend to her household duties She exercises self-denial and exhibits charity to the poor. Tender-hearted, maternal, and deeply sensitive , she is identified with love from the outset, when we first see her at her window. Her life before Daniel Morton's arrival consists of needlework, household duties, and hopes of love. Yet aspects of the nineteenth-century feminist discourse which represented women as painfully confined by domesticity are also insistently present in the first part of the novel. In the opening pages, the narrator introduces two images which are to be central to the first half of the work: Significantly, our first introduction to the Lantigua household is an ironic reference to the joys of living in what is termed a prison ; the narrative links the heroine through a series of metaphors to a bird prevented from flying: The reason for this becomes clear as Gloria's characterization is developed: The narrator frequently directs the reader's attention to the conflict between the heroine's desire for mental freedom and exercise, represented in the text as the desire to use her "wings," and the familial injunction to be an immobile and enclosed angel in the house.
As the novel progresses, the ideal feminine role for which Gloria is being trained is increasingly associated with an image of constraint and mutilation that had a long history as a political metaphor: The bird imagery in Gloria frequently evokes the romantic tradition of symbolizing the untrammelled natural liberties and power of the individual via winged creatures, a tradition which women writers in Spain had used to suggest that conventional femininity was coercive and restrictive. The names of Gloria's relatives suggest their intimate involvement with the process of making an angel out of her, for example, her uncle Angel and her aunt and Serafinita little seraph.
The diminutive form used for Serafina and don Angel's characterization as a child contribute to the association between an angelic nature and infantilism or stunted growth. All three of the heroine's relatives take part in the process of containing, confining, and intervening with her that goes on throughout the novel. The relationship portrayed between the heroine and her father is a particularly clear example of the intertwining of feminist and liberal humanist discourse in part 1.
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Lantigua's general philosophy is coercive: The link between his neo-Catholicism and his espousal of patriarchal sexual politics is laid out for the reader in part 1. The suitor he has chosen for Gloria is metaphorically linked to a tomb. The narrator points out that Lantigua's main criterion in the education of his daughter is containment rather than growth: Lantigua tells her that she must rein in her thoughts and bow her neck to the yoke of authority While he lectures her on the marriage he is planning for her, Gloria remains silent, incapable of words, but with the point of her parasol she draws in the sand.
As her future is dictated, the thing that she is drawing is gradually revealed, without comment, by the narrator. It provides a visual metaphor for the sensation of imprisonment which Gloria is presumably experiencing in her mutism, for it is an enrejado iron grid [].
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Having symbolically completed her picture with arrows, like the gate of a castle keep, Gloria announces her acquiescence: Later, Gloria envisages this consent as a voluntary self-mutilation: Vengan, pues, las tijeras" My father has often told me that if I don't clip the wings of my mind I'm going to be very unhappy. So let's have the scissors []. Chapters 5 and 6 of part 1 deal with Gloria's reading and the markedly heterodox development of her intellect.
- Knecht Ruprecht, Op. 68, No. 12;
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- Das Reserve-Infanterie-Regiment Nr. 31 [1. Teil - Abschnitte 1 bis 6] (German Edition).
She displays a startling capacity for independent thought. Indeed, the representation of Gloria in part 1 apparently caused him to class the novel among the most "heterodox" of Spanish literary productions.
Each time she is either dismissed or else severely reprimanded by her father: Vete a tocar el piano" What do you know about that? Go off and play the piano []. Lantigua limits his daughter's mental travels by barring her access to the novels in his library, citing the still popular notion that novels were dangerous for women's virtue: Lantigua has his daughter read aloud to him from religious and moral works.
At one point, Gloria embarrasses her father by voicing in male company her opinion that the society and literature of the Golden Age are not the pinnacles of achievement her father believes them to be. Lantigua, who holds that religion, politics, and history are male preserves upon which Gloria has no right to comment, qualifies her independence of mind as mad and sinful. His self-congratulatory report of this lecture is, however, prefaced by some words in the narrator's own voice, so heavily loaded with sarcasm that we cannot safely conflate the two:.
Later, when the learned personages had deprived the household of their august presence, don Juan de Lantigua, who had been somewhat put out by his daughter's absurd opinions, shut himself up with her and rebuked her affably, ordering her in future to be more careful in her interpretation of History and Literature. He declared that a woman's brain was incapable of comprehending such a weighty matter, and that extensive reading did not equip one to understand it, not even if one were a wise man with a training in criticism. He also told her that everything that has been written by famous gentlemen on various points of Religion, Politics, and History forms a respected code of opinion before which we must bow; and he ended with a parodic repetition of the idiotic and abominable things Gloria had said, which, if she did not restrain herself, would obviously lead to error, heresy, and perhaps sin.
Montesinos, puzzled by this chapter, which clearly disturbs the traditional notion of Gloria as dealing only with religious issues, pronounces it superfluous. From our perspective, however, it shows the author explicitly bringing to the reader's attention the fact that "correct" ways of reading texts were defined by men, and that women's potential for creative thought and free exposure to different kinds of writing was severely limited by the gender roles of a patriarchal society which prescribed the ideals of submissiveness and chastity for the female sex.
Lantigua invokes a patriarchal canon, the "respected code of opinion to which we must bow," produced by "famous gentlemen" who define the correct ways to interpret history and literature. Gloria assents to this curtailing of her mental horizons. Crucially, she vows henceforth to read only material suitable for an angel in the house: In trying to limit her mind to the pattern set for the angelic woman, Gloria begins to incorporate the patriarchal notion of female creative powers as monstrous: But her vow of obedience is short-lived.
After the introduction of Daniel Morton into the household, Gloria begins to question her father's ideas about religion, falling as she does so into a sin whose textual name reveals her longing for space and freedom: Again, the heroine's desires are figured in terms of flying: Images of flight as revolt against the feminine role occur repeatedly in chapter In this chapter, appropriately entitled "The Rebellious Angel," Gloria's Satanic or Promethean revolt against her father's religious creed is also a rebellion against the special requirements for the female angel. The use of interior monologue constructs a heroine tormented by contending impulses, on the one hand to obedience and immobility and on the other to self-assertiveness, power, and flight.
The description of her struggle is presented in such a way as to thwart moral condemnation, for the hubristic inner voice urging Gloria to rebellion speaks not as the devil but as an echo of Christ: Tu entendimiento es grande y poderoso. Your mind is great and powerful. Cast off that stupefying submissiveness, cast off the cowardice which has oppressed you.
You are capable of many things. You are great; don't insist on being small. You can fly to the stars; don't drag along the ground []. Gloria imagines her hidden strength to be such that, released, it would destroy the myths of male authority around her: Les oigo hablar, hablar.
I listen to them talk and talk. Her fantasies of power and destructive revolt are accompanied by a clear intuition that she has acquiesced to the mutilation of her own wings:. I have been hypocritical; I allowed my wings to be clipped, and when they grew back I acted as if I didn't have any. I have pretended to submit my thoughts to those of others and to shrink my soul, shutting it up in a cramped space. But it can't be done.
The sky isn't the same size as the glasses through which we look at it! I will get out of this cocoon I'm trapped in, because my time has come, and God says to me: This same chapter compares Gloria, in a curiously double-layered imaged, to an angel with a halo and to a sleeping bird: Although in this particular instance the bird and the angel can almost be conflated—the bird is sweet, innocent, sentimentalized, and not wild, soaring, or free—normally the two images are counterpoised in the novel.
At one point, the connection between domesticity and imprisonment is made explicit:. Her soul was fluttering about in the midst of the purest ether, bathed in celestial light, like the winged angels around the throne of the Lord of creation. The contrast was a strange one indeed; while her soul, in the words of the Psalm, fled like a bird to the hills , her body remained in that humblest of places: Rolling up the sleeves on her pretty arms and donning a white apron, she began lightly to beat a big bowl of yolks and whites of eggs. Even though the narrator's avuncular tone and his prettifying vision of Gloria here somewhat efface the power of the contrast, the tropes of winged creatures are so persistent that they overwhelm the narrative's efforts to dilute and coopt them.
We are continually furnished with instances of the heroine's compulsion to gender rebellion. She wishes to be like the masculine principle of the sun, an independent source of light, rather than the feminine principle of reflection.
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The choice that Gloria faces, besides being a choice between religious orthodoxy and heterodoxy, is also one of conformity to or rebellion against the model of femininity. In part 1, then, intertwined with the critique of neo-Catholicism, we can read a critique of patriarchal sexual politics and their effect upon the heroine.
The novel does not, however, consistently maintain the feminist critique of gender roles which it undertakes at the outset. It consists of two parts, which were published separately, and in which we can trace fundamentally opposing ideologies of woman's place.
Part 1 details the rise but also the end of Gloria's rebellious stance. Halfway through the novel, with Gloria's fall, there is a radical shift in the characterization of the heroine. In the early descriptions of Gloria, before the appearance of Daniel, and up until her union with him, the tragedy we are invited to consider is the destruction of Gloria's free mind because of the requirements placed on women by a society whose central icon is that of a confined, domestic angel.
This theme is not pursued further, for the subject of Gloria's struggle to use her mental powers is abandoned once she loses her chastity to Daniel Morton, at the end of part 1. The results of this fall are so catastrophic that she no longer fights to use her mind for.
The choice she faced earlier of whether to rebel against femininity or resign herself to it is translated into the emblematic feminine dilemma of love for a man versus duty to family. The sexual union between Gloria and Daniel is staged in a storm and flood of gothic proportions, signalling the disturbance and disorder of the entire cosmos. Even though, like Tess of the D'Urbervilles, the heroine is passively propelled by circumstance and her lover into succumbing, her loss of chastity is still symbolically invested with earthshaking implications: The storm indeed presages dire consequences for the heroine, for after consummating their love, Daniel reveals that he is not, as Gloria had assumed, a Protestant, but a Jew.
Gloria's sexual initiation is, furthermore, figured as striking at the very heart of the patriarchal order, for upon discovering the lovers in Gloria's bedroom, her father falls dead instantly of a heart attack. Gloria's disobedience has rendered her nothing less than a parricide. At this central point of the novel, the metaphor of breaking wings is employed for the heroine's loss of chastity. In context the metaphor bears an important second meaning, which is that Gloria's powerful, independent thought processes are now destroyed. From this point on her path is one of submission and obedience, not free flight.
She uses all her energy to conform to the angelic mould which, in the eyes of contemporary society, has been irreparably shattered by her extramarital sexual initiation. Ironically, it is at the point when Gloria becomes, in conventional terms, a fallen woman, that she comes to seem most conventionally angelic.
The latter half of the novel traces Gloria's decline, during which she demonstrates two main characteristics of the angel figure: Thus the narrative foregrounds the image of woman as angel rather than as caged bird, and the latter image is largely left behind. Hence the domestic ideology of the middle classes, which was subverted in the opening pages of the novel, is at.
The angelic values of purity, piety, submissiveness, martyrdom, and motherhood displace the earlier transgressive, intellectual, rebellious stance of the heroine. After her fall Gloria begins a long process of atoning self-effacement which culminates in her death. Far from completing the process of rebellion against the injunction of her societal environment to "suffer and be still" begun in her youth, she now concurs with it completely.
The silencing and confinement imposed on her by her father in part 1 she now imposes on herself: In part 2, the patriarchal construction of gender imposed on Gloria by the male characters is taken up and endorsed by women: The narrative stance here is contradictory, for although the narrator displays a good deal of dislike for the punitive zeal of these women, the text nevertheless presents Gloria as admirable for submitting to them. As a result of her fall Gloria becomes almost totally submissive, focused obediently on the need for Christlike penitential suffering.
She is tutored by Serafina in remorse and self-sacrifice, and has become desperate to conform: I'll do anything," the young woman declared, abandoning, as it were, the last remaining atom of her free will []. Her resignation and self-prostration are clearly intended to be construed as signs of nobility of soul. Her self-offering is made in the language of the female mystics: I shall not say a single word in my own defence, because I know I deserve it all, that I have sinned a great deal; I shall drink this bitter cup down to its last dregs, and I offer up to God my wounded and bleeding heart, which will never again, as long as it lives, give a painfree beat [].
In accordance with the ideology of domesticity, motherhood is invoked in part 2 as a central value. Not only is Gloria now idealized in her motherly role, but the maternal instinct is presented as an irresistible biological and moral force in both the heroine and Esther Spinoza, Daniel Morton's mother.
Since fallen women were typically imagined to be bad mothers or, to use the phrase of the day, "desnaturalizadas" unnatural women , Gloria's overwhelming love for her child acts as a sort of moral shorthand to the reader not to dismiss her as immoral. She refuses to give up seeing her son, despite Serafina's exhortations, for although she now professes to despise herself as a woman, "como madre no puedo hacerlo" as a mother I cannot do so [].
It is maternal instinct that causes her to flout prohibition and to overcome her own intense physical weakness in order to visit the child alone, at night. She describes the bond with her son as noble, sacred, and divinely inspired, all conventional nineteenth-century epithets for motherhood, and defends her right to see her baby in melodramatic terms —