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• W1190930452 abstract "Abstract: Many critics have focused on Elizabeth Gaskell's sympathetic and thoughtful treatment of women, particularly in Ruth, and some have explored the similarities between Ruth and its contemporary American novel The Scarlet Letter, exploring Gaskell's and Hawthorne's portrayal of the fallen woman, her role as nurse and seamstress, and her illegitimate child. By taking this critical framework of comparing these texts and shifting the focus to depictions of men, this paper will examine the ways in which Gaskell borrows and transforms Hawthorne's modes of presenting masculinity. Overtly, she borrows the male name of Bellingham from Hawthorne's novel, and, more subtly, she borrows and transforms Hawthorne's ways of portraying masculinity. Like Hawthorne, she presents a weak-willed lover whose identity is kept secret and who falls ill, weakened and emasculated from his sexual act, and like Hawthorne, she depicts the man who learns of the affair as physically deformed and not 'typically' manly. This paper will briefly discuss Ruth and The Scarlet Letter in a broad overall comparative lens before exploring in depth these two models of manliness in the novels in order to examine Gaskell's nuanced understanding of masculinity.Mid-nineteenth-century England underwent great social change in the face of industrialisation, voting reforms and changing working and living conditions, and with those changes came new conceptions of masculinity and what it meant to be a man and a gentleman. The question of manliness is particularly relevant to the works of Elizabeth Gaskell, which span class, region, time and genre to grapple with ideas of masculinity in the working class, middle class and landed aristocracy. Critics have devoted much attention to Elizabeth Gaskell's depiction of women - not surprisingly, given the female-centred titles of Mary Barton, Ruth, Cousin Phillis and Wives and Daughters, her role as a woman writer, and her sympathetic treatment of the 'fallen' woman, working-class women spinsters, and widows. That being said, much of Gaskell's work revolves around issues of masculinity and manliness. Though Gaskell's treatment of masculinity is most analysed with regards to her industrial fiction and the questions raised therein about working-class male nurturance and gentlemanliness in factory owners,1 it is equally noteworthy in novels such as Ruth (1853). Ruth is commonly examined within the context of novels about fallen women and within this framework, it is not surprising that it should frequently be compared to her American contemporary Nathaniel Hawthorne's The Scarlet Letter (1850). Whereas existing critical comparisons focus largely on Gaskell's and Hawthorne's depictions of fallen women and illegitimate children, this essay will examine the ways in which Gaskell echoes the models of masculinity that Hawthorne presents and mirrors - with significant differences: the figures of the weak-willed lover who falls ill and the deformed man who holds the secret of the affair.Angus Easson notes that 'Gaskell is the first novelist in nineteenth-century England to take a fallen woman as her central character, and even if we look at an earlier American example, Hawthorne's The Scarlet Letter [...] we find at the beginning that the crime is already committed and acknowledged by Hesther [sic]'.2 This difference is crucial, and it allows Gaskell to move from the realms of Hawthorne's romance to that of realism and to examine the interiority of a fallen woman from seduction to death. Though Ruth represents a radical change in this respect, in other ways it bears many similarities to The Scarlet Letter, particularly with regards to the heroine's roles of sewing, nursing and raising her illegitimate child. Easson acknowledges that Ruth, in her association with the countryside and small-town life, is closer to New England's Hester Prynne than Blackmore's needlewomen who, impoverished, must choose between prostitution or starvation; however, he argues, 'direct imitation is unlikely, though Gaskell probably knew The Scarlet Letter well already, as later she came to know Hawthorne himself'. …" @default.
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• W1190930452 date "2014-01-01" @default.
• W1190930452 modified "2023-09-27" @default.
• W1190930452 title "Weak-Willed Lovers and Deformed Manliness: Masculinities in the Scarlet Letter and Ruth" @default.
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