By Susan Ostrov Weisser
What is the matter of sexual love? Neither together with all facets of sexuality nor totally synonomous with the idealized mythos of romantic love, sexual love as wish is marked via the hugely charged intersection of sexuality and romantic love; it's a area the place gender is imagined and enacted.
In A yearning Vacancy, Susan Ostrov Weisser examines sexuality within the context of fixing principles of romantic love and feminity in Victorian Britain. Focusing her research at the works of Samuel Richardson, George Eliot, and Emily and Charlotte Bronte, Weisser finds the complicated courting among conceptions of romantic ardour and ideologies of sexuality. She illuminates the Victorian interval as a time while those conceptions have been moving in keeping with altering principles of gender. With shut realization to textual information, she introduces the idea that of ethical Femininity, putting it in priceless competition to the competing Victorian perfect of the Lady.
By forging an immediate hyperlink among sexuality and romantic love ideology within the nineteenth century, and by way of highlighting the best way the literary preoccupation with those topics arises from anxieties in regards to the building of gender, A yearning Vacancy breaks vital new ground.
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Additional resources for A Craving Vacancy: Women and Sexual Love in the British Novel, 1740-1880
10 Richardson's strategy as a 'serious' novelist involved the restylizing of chastity in the novel. From a more or less open invitation to sexual or emotional stimulation, Richardson made use of that Samuel Richardson and Sexual Love 39 desire to dramatize sexual and social exploitation in a newly emerging commercial society. ' signals her social and moral decency as well as literal virginity. 's mistress], or be more honourably used', by which she means that Pamela would be well repaid for compromising her moral principles in the coin of material comfortY The result is a complex literary world in which an anomalous personal passion exists in a fine tension with a network of 'ordinary' social rules and moral prudence.
3 The males in the story, we are relieved to observe, fare little better. They too must be changed, broken or cut to size to fit these pages - if The Double Message of Sexual Love 17 they survive at all (Emily Bronte's Heathcliff and Charlotte Bronte's M. Paul do not). All are caught in a web of contradiction, in which the pleasure of sexual love, which constitutes a kind of freedom for a woman, is revealed to be complicitous with the social order that formed the heroine's prison and necessitated the escape to freedom in the first place.
In this construction the narrative seems to require of its hero (but really of the reader) that a choice be made between the values of an attractive but dangerous modernity and a threatened, increasingly weakened traditionalism. But then another story seems to take its place within the first, realigning the values which appear to be so clear in the above structure. In this latter configuration, desire appears to be the sign of a strong, authentic, 'real' self liberated from domination, and self-denial is equated with an oppressive demand for submission.