Words, words, words… well said Hamlet! A little blog to go off on tangents within the worlds of history and literature that interest me. From the Tudors to Tom Hardy's Tess, or from the Wars of the Roses to Wuthering Heights, feel free to browse through my musings to pick up extra ideas and points for discussion!
Searching for the Gothic in Dickens’ Christmas classic!
‘A Christmas Carol’ is a classic Christmas story, as it encompasses all that should be at the heart of Christmas. Love, joy, family… and a prize turkey that can feed the five thousand. It also gives us the lesson that people can change and that sometimes they should, in a quick hit of one hundred and seventeen pages… depending on your edition.
This happiness however doesn’t come about on its own, and is only really facilitated by Scrooge’s conversion, which in turn is only facilitated by the appearance of the three Ghosts… four if you count Marley.
If we want to find the Gothic in the novel, we should start with Dickens’ finest creation. Scrooge! He kind of fits into the archetypal Gothic patriarch mould, a figure that is tyrannical, uncompromising and relentless. We get this from Manfred, in ‘The Castle of…
Diana, Princess of Wales is a figure that seems to be ever-present. She comes back into the public imagination on the advent of any royal ceremony, be that the wedding of her former husband or both of her children. It is difficult to think of a royal that has had a similar impact, one that is continually, universally popular. Perhaps it is fitting that her own children, the next generation of royals, seem to be on the path of gaining similar levels of popularity from the public. But why is she so popular, and why was she dubbed the People’s Princess?
Diana married Charles when she was a 19-year-old kindergarten teacher, and was seen as the young, pure woman who managed to snag bachelor Prince Charles. Friends noted her keen sense of fun, and quick wit. One particularly funny story recounts her riding her bike around Buckingham Palace the night before her wedding. Their wedding came at a time of national upheaval, following the rise of Margaret Thatcher in 1979. Riots were breaking out in Brixton also, and so the impending royal wedding was an easy way to unite the country in revelry and festivity. Diana’s advancement to become the Princess of Wales immediately styled her as the young woman entering into the dream fairy-tale. At the wedding, held on the 29th of July 1981, the Archbishop of Canterbury himself declared that the vision before him was the ‘stuff of which fairy-tales are made.’ The wedding was watched by 750 million.
Their romance had been slightly strange up until this point. Charles had first met Diana while dating her sister, Lady Sarah Spencer. Richard Kay, a friend of Diana and journalist, noted that Diana and Charles’ romance was incredibly formal, and that she had to call him Sir. Essentially, they never got to fully know each other, at least not enough to realise that they were massively incompatible. In retrospect, former BBC royal correspondent Jennie Bond argues that, as Charles could not marry long term girlfriend Camilla Parker Bowles, he went for the next best option.
Diana was stalked by the media very early on, and was dubbed by Kevin Mackenzie, former editor of the Sun, as ‘The Princess of Sales.’ He noted that she changed the way in which the royals were reported, and that Diana herself pushed the royals forward into the 80s.
However, problems in the relationship of Charles and Diana started early on. Following their engagement, Charles flew to Australia on tour. Diana was caught crying on camera, not because she feared missing him, but because she had caught him on the phone with Camilla shortly before his departure. Diana recounted on several occasions, that she suffered from bulimia, and was violently sick the night before the wedding. Reportedly, on this night, Charles told Diana that he did not love her. Her waist shrunk prompting several refits of her dress, emphasising the delicate state of her mental health. She described this as a ‘symptom’ of what was happening in her relationship, which only worsened when she became Princess of Wales. Diana’s former Personal Protection Officer, Ken Wharfe recently said that Camilla was always on the scene. Kevin Mackenzie, claimed that Diana’s young age and naivete made the situation ‘even more deceitful by Charles.’
Their 1983 tour of Australia bought further trouble, as Charles became increasingly jealous of Diana’s popularity. This sparked a growing resentment between the couple. Former photographer Ken Lennox saw that, when Diana was weeping on tour, Charles did not give her a second glance. After Prince Harry’s birth in 1984, Diana told author Andrew Morton that ‘the shutters came down.’ Baroness Rosie Boycott, a former newspaper editor, believes that Charles emotionally abused her. Former butler Paul Burrell asserts that, as Diana had provided ‘the heir and a spare,’ it left Charles free to go back to Camilla. Morton asserts that Diana was ‘being lied to by everyone,’ and that everyone knew and supported Charles’ clandestine relationship with Camilla. The couple began to lead separate private lives.
At this point, we see Diana as a young woman trapped and essentially tricked into a loveless, deceitful marriage. Her descent from the fairy-tale princess into the prisoner is incredibly tragic and is in part why she is remembered. The sheer sympathy that the public felt for Diana is quite overwhelming, and still stands today. It is even more remarkable what Diana did with her elevated position.
Diana is remembered for her empathy and charity work. In 1987, Diana opened a ward in Middlesex hospital, specially built to treat AIDS/HIV patients. At the time, there was a great fear of the disease. People did not know how it was transmitted. Diana shook hands with nurses and patients, without wearing gloves. This event displayed Diana’s endless empathy towards those in need, and she singlehandedly debunked the theory that HIV can be transmitted through touch. This was, and is incredibly powerful, and caused Diana’s popularity to soar. It is difficult to match another royal act to this, that had such an impact on AID’s sufferers, the public as well as scientific studies about the disease.
Following, Morton’s 1991 book, which Diana secretly helped with, the Squidgygate and Camillagate tapes and revelations that both parties had been adulterous… the couples’ separation was announced in 1992, although they had no plans to divorce. This meant that Diana would still one day be queen. On the 20th June 1994, Charles tried to hit back at Diana’s popularity by giving an interview with ITV. He stated that he was only unfaithful to Diana after their marriage had ‘irretrievably broken down.’ Here, her confirmed his adulterous affair. Both Charles and Camilla were vilified in the media. Cue Diana’s 1995 Panorama interview.
Diana was approached by Martin Bashir, who stated that he had ‘proof’ that her friends were spying on her. At the time Diana was paranoid about the secret service, and was concerned she was being watched. The interview was certainly dubiously obtained, but it is more remembered for its shocking content. In the space of half an hour, Diana lifted the lid on her marriage, which confirmed details present in Morton’s book. She also criticised members of the royal family, including Charles and the Queen Mother. Paul Burrell termed the interview as ‘unprecedented,’ and all recordings and tapes were under constant guard. Diana told the palace about the interview moments before the BBC announced it. The whole affair was shrouded in secrecy. Diana was swayed, partly because of the bank statements Bashir presented her with, but also because she feared that an impending divorce meant an impending gagging order.
Seen as ‘earth shattering,’ ‘explosive television’ and one of the most important interviews given in the 20th century, the interview was watched by 23 million people. Diana’s description of her bulimia, in graphic detail, helped people better understand a previously misunderstood illness. She stated that she was blamed for the failure of her marriage, as she was frequently referred to as ‘unstable.’ Baroness Boycott saw this as a message to all people in the world, telling them that it was ok to be vulnerable. In Boycott’s eyes, Diana unbuttoned a fairly ‘buttoned up society,’ with her frankness. She validated the feelings and fears of everybody. She famously stated that there were ‘three of us in this marriage,’ and also confirmed her own infidelity with James Hewitt, stating ‘yes I adored him, yes I was in love with him.’ Mackenzie and his team were shocked, as all stories that they had run on the royals, which had previously been denied, were confirmed by Diana in the space of half an hour.
As a result, the Queen asked the couple to divorce, and the Queen’s Christmas broadcast was also shown on ITV. The interview itself greatly affected the relationship between the monarchy and the BBC. Diana, in the interview, wished for a monarchy that had a more ‘in depth understanding’ of its people, and wished this for William and Harry. Following her death in 1997, Charles took up some of Diana’s AIDS work, and it is Morton’s belief that Diana paved the way for Meghan Markle’s entrance into the royal family.
So, why is Diana still remembered today? With her 1995 interview, Baroness Boycott felt that Diana ‘blew the lid off the world,’ and in a way, she did this during her lifetime. Her beginnings as a young naïve woman made the public fall in love with her, a feeling that only strengthened upon seeing her compassion and empathy towards AIDS sufferers. Her honesty in her 1995 interview was shocking, as viewers saw their future queen admit her vulnerability, validate the vulnerability of others and share her own hopes for the future of the British monarchy.
Within the Ottoman, Safavid and Mughal empires, it is a common belief that women were subject to ‘widespread oppression and subordination.’ However, this view can be deemed reductive It is within the dynastic setting that women were able to exercise a degree of political power even if they did not always have full autonomy. By examining the harem, their relationship with the sultan, marriage, rare examples of queenship, patronage and education, it can be ascertained that women within the Ottoman, Safavid and Mughal dynasties wielded political power to a moderate extent. Their degree of political power was only moderate as it rarely allowed them to affect political policy directly, and even when they had the chance to do so, their political power was limited by their gender and established role at court, which was usually tied to the family.
The royal harem was an area in which women could exercise political power within the Ottoman, Safavid and Mughal dynasties. During the Ottoman empire, the sultan’s mother was at the ‘apex’ of the harem and had considerable influence within it. As she was close to the ruler of the Ottoman empire, she could still indirectly influence the goings on within the empire. This was aided by her strong influence within the harem, and her high status as the mother of the sultan. Women would partake in ‘harem intrigue,’ the goal of which was to elevate the position of their husbands. This involved making connections with men of high status, to increase the status of their own family. This demonstrates that women did exercise a moderate degree of political power within the Ottoman empire, albeit behind closed doors. Fanny Blunt supports this, and observes that many viziers gained influence within the Ottoman court due to the influence of their wives within the harem.
Similarly, within the Safavid empire the harem was seen as an ‘internal power structure,’ in which women could exert political power.
It appears that with the advent of the Mughal empire, the harem began to directly exert political power. Akbar left his mother, Hamida Banu Begum, in charge of the empire when he had to deal with unrest in the north, placing political power directly into the heart of the harem. However, when looking at the harem across all three dynasties it is clear that women were only able to exercise a moderate degree of political power. The fact that their influence mainly occurred behind closed doors emphasises the fact that, despite this influence, they did not have the means to enter into mainstream political decisions.
Through analysis of the women’s’ relationship with the ruling sultan, it can be learned that women wielded a moderate degree of political power. Lisa Balabanlilar recounts that within the Ottoman court, females were removed from power and that the purpose of women within the court centred around the family. After giving birth, women were supposed to educate and protect their sons, which would have given them the opportunity to forge a strong relationship with their child, and perhaps influence them at a young age in political matters. Despite this influence, it is still clear that their relationship to the sultan was one that depended on their ability to produce children, which took precedent over their political agency.
The Mughal ruling dynasties emphasised the importance of the female role within the family and household. Elderly women would intervene in familial and political crisis’ which is demonstrated in Jahangir’s use of female diplomats. Shah Jahan, the fifth Mughal emperor, relied heavily on his daughter Jahanara to run the household, and even left her in control of finances. Audrey Truschke, noted that royal women were involved in succession struggles. This is true of Jahanara, who failed to quell the war of succession between her two brothers, Aurangzeb and Dara Shukoh, despite her attempts via letters. The fact that she was not a competitor for the throne herself demonstrates that she only had a moderate degree of political power. This emphasises that a women’s primary role within court was one that was allied with the family and the household.
Within the Safavid dynasties, marriage was used to consolidate power. This would have allowed women to further the political course of the empire through an advantageous marriage. By intermarrying with military and civil dignitaries of Turkic and Iranian origin, more local states were incorporated into the Safavid empire. Women were therefore instrumental, and were frequently married more than once. It would be through their mother that the children of Safavid princesses would inherit, giving the latter a degree of political power as through marriage they could secure their place within the Safavid court through their son’s inheritance. An example of this is Shah Abbas I’s incorporation of Mazandaran into the Safavid state, due to familial connections from his mother’s side at the end of the 16th century. This provided women with a moderate degree of political power. Although they were not able to directly wield it, they were still able to secure their place, and the place of their children, through an advantageous marriage.
There are rare examples of queenship across all three empires. Within the Ottoman dynasties, female sultans were privileged not with political power but with freedom. Within the Safavid empire, Khayr al-Nisa Begum governed the Safavid state from February 1578 to July 1579. She was the wife of Shah Mohammed Khodabanda, and it is recorded that ‘no affair was conducted without her advice.’ She had a considerable influence within the Safavid court, and held administrative roles, made military decisions and approved royal decrees. However her constant quarrelling with the Qizilbash amirs prompted the comment that the Shah should ‘rule by himself and not delegate his power to a woman.’ This power struggle climaxed in July 1579, when Khayr al-Nisa Begum and her mother were strangled in the royal harem by the Qizilbash. Judging by the Qizilbash’s response, it appears that it was the gender of the Shah’s wife that should have halted her ability to wield political power. This gives the impression that in society, female rulers were not accepted. Despite her high political influence, her power could not be maintained and was thwarted by other men within the Safavid empire. This leads to the conclusion that across the dynasties, women only wielded a moderate degree of political power.
Women wielded power through their patronage, and although this cannot be considered as a direct political influence, it would have enhanced the legitimacy of their ruling families. Within the Ottoman empire, status would be conveyed by the number, location and the designs of buildings that were commissioned by patrons. Princess Mihrimah had two mosque complexes built in Üsküdar and Edirnekapi, the inscriptions of which proclaimed her privileged status. She was also the first princess to commission a monumental mosque complex in Istanbul, in memory of her deceased brother. Building mosques styled the ruling dynasty as Islamic, increasing its legitimacy to rule. Within the Safavid empire, princess Gawhar-Shad Begum was recognised as the largest patron of charities and the arts. She also was a recognisable figure on the political scene in the first half of the 15th century, demonstrating that her political power was tied to her patronage. Many Mughal women acted as the patrons of shrines, such as Nur Jahan, who was married to Jahanghir. She built several ships and independent palaces, using her political influence to impact the culture of the Mughal empire. She was seen as an ‘exceptionally powerful woman,’ and considered to be a co-regent to her husband. Patronage can be seen as an example of indirect political influence, as through her status in the Mughal Court Nur Jahan was able to affect the culture and appearance of the Mughal empire. This cements the idea that women possessed political power to a moderate extent, as although they could use this power to influence patronage there were still limits as to how they could influence political policy directly.
Mehmet II established a Palace School in order to educate young women of the Ottoman empire. They were taught feminine arts, such as sewing and embroidering. This tells us that women were educated in the domestic sphere and were not intended to exercise political power within the Ottoman empire.
In contrast, during the Safavid empire, young women were subject to the same curriculum as young boys, and were encouraged to study the Qu’ran and principles of the Shari’a. Both sexes were taught about rules of civility and social behaviour. Judging by this curriculum it could be argued that children within the Safavid ruling families were subject to greater gender equality than in the Ottoman empire.
The Mughal’s ensured that royal women were educated in many subjects including Maths and astrology, with some learning the Qur’an. Emperor Akbar styled himself as the moral centre and exemplar in the empire, and it is conceivable to think that both men and women were answerable to his high standards. If one were to take this as true, both men and women were supposed to follow the example and rules of Akbar, creating an empire which encouraged equal education. Despite this equality, it appears that this did not impact the female ability to wield political power in their adult life, as women only wielded political power to a moderate extent, as outlined above.
This leads one to the conclusion that women of the ruling dynasties of the Ottoman, Safavid and Mughal empires only wielded political power to a moderate extent, as their attempts at exercising power were not enough to secure their direct political influence at the royal courts. Their main function within court was rooted in the production of children and the family, which, although this would give them a degree of power, it still would not allow them to direct political policy themselves.
Thanks for reading!
 N. R. Keddie, B. Baron, Women in Middle Eastern History: Shifting Boundaries in Sex and Gender (Yale, 2008), p. 13.
 F. Davis, The Ottoman Lady: A Social History, 1718-1918 (Contributions in Women’s Studies) (Conneticut, 1986), p. 1.
 A. Truschke, Aurangzeb: The Life and Legacy of India’s Most Controversial King (Stanford, 2017), p. 25.
 J. Mikkelson, “The Way of Tradition and the Path of Innovation: Aurangzeb and Dara Shukuh’s Struggle for the Mughal Throne,” in Hani Khafipour (ed.), The Three Empires of the Near East (New York, 2019), pp. 240-263, p. 243.
 Szuppe, ‘Status, Knowledge and Politics in Sixteenth-Century Safavid Iran’, p. 144.
 C. Isom-Verhaaren, ‘Mihrimah Sultan: A Princess Constructs Ottoman Dynastic Identity’, in Christine Isom Verhaaren and Kent Schull (eds.) Living in the Ottoman Realm: Empire and Identity, 13th to 20th Centuries (Bloomington, 2016) pp. 150-165, p. 157.
The protagonist in Butterworth’s 2009 play ‘Jerusalem’ comes in the form of Johnny Byron, a character that has been classed as ‘one of the most compelling, complex and iconic characters in modern British theatre’ by critic Paul Mason. He was portrayed by Mark Rylance. It is no doubt that the audience find the character comical, but it takes a deeper reading of the text to decipher whether Johnny is the hero or the villain of the play. To ascertain an answer, one must look at Johnny’s characteristics, individual moments in the play and his interaction with Phaedra, in comparison to Troy.
Initially, the audience could quite easily jump to the conclusion that Johnny is the dragon, as he may be holding Phaedra against her will. While Pea asks the others about the disappearance of ‘Phaedra Cox,’ Johnny, in the royal court production, is off stage chopping logs. Only a sharp sound can be heard as ‘Johnny splits a log,’ albeit more suspiciously as the scene continues. Although the audience may not have realised yet, Phaedra has already been seen in a ‘fairy’ costume, emphasising her innocence and vulnerability. If one compares this to Johnny’s control over the wood he is chopping, and by extension nature, then he would be perfectly capable of controlling and dominating her. We are then informed that Phaedra is the ‘May Queen,’ which in the context of the play is a highly sexualised pubescent, crowned at the modern ‘Flintock Fair.’ Phaedra is increasingly depicted as a vulnerable young girl, who could easily be controlled or taken advantage of, and currently, Johnny appears suspicious enough to be that person controlling her, making him seem like the dragon who has abducted the fair maiden. Davey’s poor humour about the situation, resulting in the ‘werewolf’ story can also be used to make links with Johnny, as we already understand that the ‘wood’ is his, and that he likes a ‘shag.’ The idea is referenced again at the beginning of act two, with the use of the Barry Dransfield song. Johnny is liberal, and does not fully abide by the laws, as he is a ‘drug dealer.’ At such an early stage in act one; it is plausible to think that, when discussing Phaedra, Johnny is the dragon who is abusing her.
As with most passages in literature, it can also be read differently. This reading presents Johnny as a saintly figure, who is shielding and protecting a vulnerable young girl from her abusive ‘stepfather,’ Troy. Majority of abusers are well known to their victims, and Phaedra does know Troy better than Johnny. Statistics suggest that most abuse cases occur between family members within the home, which could explain why Phaedra has run away from home, multiple times, as Pea explains. When speaking to Troy, Johnny belittles him and taunts him over Phaedra, who he deems a ‘treasure,’ and proceeds to note her ‘big eyes.’ Previously Phaedra had been presented as an innocent, vulnerable girl, but here she is discussed as a sexual plaything in the presence of Troy. Similarly, young girls in manga comics emphasise this idea, as they are designed to be sexually attractive to the reader, and Johnny makes it clear that Phaedra is sexually attractive to Troy, making him the dragon, and Johnny the protective Saint George. Perhaps this sexualising of Phaedra makes her seem like a femme fatale in their eyes, as it is she who draws both men together, subsequently hinting to some kind of conflict, as a reference to the story in which Saint George slays the dragon. In the passage Johnny is not explicitly made out to be a saint, but it is Troy that is implied to be the dragon, thus automatically making Johnny the saint protecting Phaedra. One can link this, as well as the werewolf references, to the tale of Red Riding Hood. This would make Troy the wolf who drools and fauns over the huge, tempting eyes of Red. Phaedra does show willingness to be with Johnny, making him seem even more of a saint. When she finally emerges at the end of act two, in the royal court production, Phaedra calls out for Johnny, as if for protection. Phaedra appears to be safe with Johnny, and stays there by choice to get away from Troy. She also has the ability to ‘command’ Johnny, as seen with the ‘fish in the bag,’ which makes her seem even more comfortable with Johnny, and more at ease than she is with Troy, making him seem like the dragon, and Johnny the saint.
Johnny can also be seen to have saintly qualities and characteristics. It is clear that his ‘onlookers’ idolise him, and wish to be him, most notably Ginger. Ginger is constantly desperate to gain the approval of Johnny, as can be seen when he pushes Johnny to ‘say’ that he is a ‘DJ.’ Ginger also tries to tell stories in the vivid fluid fashion that Johnny does, but continually fails, much to the disappointment of the audience. Most of the time Ginger is put down by Johnny, as well as the audience, which alternatively could present Johnny as a dragon, who has named the loyal and unassuming Ginger as one of his victims.
Whether this be true or not, it is clear that those at the caravan believe that after the events of ‘1981,’ Johnny does indeed deserve a ‘statute,’ and to be immortalised in stone. They even compare him to King Arthur, a figure of folklore who is believed to return in England’s hour of need. By saying this, the group believe that Johnny deserves to enter into English heritage, culture and folklore, and become immortalised like a saint. Johnny can also be seen as saintly as he cares for children. Although it is his fault that children are seen ‘wandering around at night pissed,’ he still cares for them, and ensures they are safe by allowing them to sleep in his ‘caravan.’ Much like Saint George who protected the people from the dragon, Johnny can be seen to protect teenagers from themselves, as arguably, they are safer at the caravan than they would be if they are wandering about, and this could result in them getting hurt.
As well as saintly qualities, Johnny is also represented as a dragon, or more generally as an animalistic monster, which could have, and perhaps already has, ‘envenomed’ Flintock. Beginning with his ‘feral bellow from the heart of the earth,’ it is made clear that Johnny is an animalistic creature, and is fully at home within the forest. This idea is then elaborated on, as Davey calls him an ‘ogre.’ This particular monster is incomparable to that of a dragon, but a vampire is not. As the play progresses, the apparent ‘danger’ Johnny presents to the to the others does also, as he mentions that ‘all Byron boys are born with teeth.’ This presents Johnny as a mythical, vampiric figure, who is harmful to those around him, like a dragon would be. Byron boys must also be tended to like a ‘wound,’ as there is the danger that he could infect others, and the land, much like the dragon that ‘envenomed all the country.’ Johnny also has the ability to draw people in, and ensnare them, as can be seen when he seduces Dawn. All these qualities do present Johnny as a monster, like a dragon as he has animalistic qualities that are comparable to such a creature.
The ending of the play is also useful when considering the presentation of Johnny, beginning with his branding by Troy. Troy is the dragon, and Johnny is the saint in this instance, for obvious reasons. It is Troy who orders his men to wield the ‘blowtorch,’ which is symbolic of a fire-breathing dragon. In the royal court production of the play, Johnny also makes the sign of the crucifix, portraying him as a saintly figure, which is suffering to protect others. He visibly gives himself up to Troy and his henchmen, further likening him to a saint-like figure, or even Jesus, who surrendered himself in the garden of Gethsemane in order to save mankind. This idea is further explored in his last conversation with Ginger.
Ginger is Johnny’s most loyal supporter throughout the play, and always seems to jump to his aid. Although Ginger did run away upon seeing Troy, one must ask themselves what use he would have been against him, as in the royal court production, Troy appeared significantly stronger than the ‘lanky’ Ginger. However, he does return, and vows to protect Johnny from the council, which has less chance of success than the previous situation with Troy. Johnny denies that he and Ginger are ‘friends’ and decides to send him away, in a forceful and aggressive manner. This could make Johnny seem like a dragon, purely because he is acting in a hostile manner, much like a dragon does. This reading, that Johnny is here being a dragon, is more metaphorical than literal, as it is based on his personality, and his volatile behaviour in this context. Alternatively, Johnny can be seen to protect Ginger, and shield him from harm and hurt in sending him away. This could be Johnny thanking Ginger, albeit in a horrid fashion, for his years of service and loyalty. This would make Johnny a saint, as he is protecting the weak, as he knows that Ginger will not survive this confrontation. Johnny also knows that the only way to get rid of Ginger is to be vile to him, as Ginger is used to being made fun of. Johnny now abandons Ginger in a more severe fashion, to ensure that Ginger hates him enough to leave him behind for the council to find. Johnny sacrifices his friendship with Ginger, for Ginger’s own sake, and perhaps himself, as Johnny will not survive such a confrontation, making him appear as a saint-like martyr.
Johnny’s ever changing representation in the play makes for dramatic and interesting viewing, particularly when considering whether Johnny is the saint or the dragon. At the beginning of the play, it is insinuated that he is the dragon, but this is due to the fact that the audience do not know the character of Johnny well enough, or the character of Troy. As Troy is implied to be the abuser, Johnny instead appears as the saint, as it is he who is shielding and protecting Phaedra, and later Ginger, from harm and suffering.
Everybody knows of Guy Fawkes because of his involvement in the failed Gunpowder Plot of 1605. Guy Fawkes was caught while guarding a cache of explosives under the House of Lords, with the intention of blowing up the Protestant king James I and replacing him with a Catholic head of state. Fawkes had become involved in the plot the previous year, and was introduced to a small band of Catholics, led by Robert Catesby. The plan that they formed involved Guy Fawkes lighting the fuse and then escaping across the Thames, while a rebellion was to be started in the Midlands, with the intent of capturing James’ Protestant daughter Princess Elizabeth. The crisis was luckily averted when the plan was leaked in an anonymous letter addressed to William Parker, 4th Baron Monteagle, advising him to not go into Parliament on that specific day, the 5th of November. The letter stated that Parliament ‘shall receive a terrible blow… and yet they shall not see who hurts them.’
Upon his arrest, Guy Fawkes was tortured for the names of his twelve co-conspirators, and it is speculated that he was racked. After withholding information for several days, he gave the names of the men who he had worked with. Fawkes was executed on the 31st of January 1606 along with Thomas Wintour, Ambrose Rookwood and Robert Keyes. However, Fawkes managed to avoid the pain of being hanged, drawn and quartered, as he fell from the scaffold before and broke his neck.
The thwarting of the plot was a major triumph and success for the kingdom. In commemoration, James I decreed that people should celebrate the failure of the plot with bonfires, provided that they were not too large or too dangerous. Several months later, the introduction of the Observance of 5th November Act decreed that the 5th of November should be celebrated as a thanksgiving for the plot’s failure. This was suggested by Edward Montagu, who believed that James’ divine protection and deliverance deserved some recognition. The day has not survived fully since its inception, and its celebration has been tarnished and associated with begging and violence. Sometimes effigies of the Pope would be burnt by the Puritans instead of Fawkes. However, with the advent of the 20th century, Bonfire Night, or Guy Fawkes day, has become a social occasion complete with bonfires and firework displays.
Fawkes himself as become synonymous with the plot, so much so that effigies are regularly burnt of him during Bonfire Night. This also led to the development of the Guy Fawkes mask, a stylised depiction of him that still survives and runs through popular culture today. The mask gained higher popularity and recognition with its use in the 2005 film ‘V for Vendetta.’ From then on the, the Guy Fawkes mask became a popular symbol of resistance against governmental tyranny.
Apparently, Guy Fawkes also haunts the Guy Fawkes Inn at York. There have not been many sightings of him, but there have been some reports. This location was the site of Guy Fawkes’ birth. Perhaps he achieved the fame that he wanted after all.
This ring is one of the last surviving pieces of Elizabeth I’s jewellery collection, and dates back to the mid 1570s. It has a mother-of-pearl hoop, which is rare and expensive. The ring is also encrusted with cut rubies. White diamonds on the bezel form ‘E’ for Elizabeth, and ‘R’ for Regina can also be seen made with blue enamel, which is a type of porcelain. The presence of pearls may be a reference to Elizabeth’s virginity. The locket opens to reveal a side profile portrait of Elizabeth, and another woman. Some believe it is her mother, Anne Boleyn who was executed in 1536, partly because the figure sports a French hood, which dates back to the mid 1530s. Anne herself was known for wearing French fashion. During Elizabeth’s reign, more portraits were commissioned of Anne, so it is conceivable to think that the figure could be her. Others, because of the figures reddish hair believe it to be Catherine Parr, whom Elizabeth was very close to. Catherine Parr, after Henry’s death, later married Thomas Seymour, which is interesting as, the symbol of a phoenix is present at the back of the bezel. This would strengthen the idea that the ring was a gift from a Seymour, but again, this is subject to debate. A third theory is that the portrait is in fact one of Elizabeth in her youth.
If this were to be the case, the ring could reference three of the most powerful families at the time, the Boleyn’s, the Seymour’s and the Tudors themselves. It would be nice to think that the portrait is of Anne, although it is believed that Elizabeth seldom mentioned her. Some historians theorise that the ring is proof of Elizabeth’s affection for her mother, and perhaps acts a reminder to her to not make the same mistakes that she did. It is one of those objects that could be interpreted in many different ways, but it what it does signify is the power of the females that it ties to. All three women associated with the ring are immensely important to British history, and the images, jewellery and presentation of them in the shape of a ring, traditionally associated with femininity, demonstrate the strength of their power, and by extension, female power.
The ring also represents the end of the Tudor dynasty, as Elizabeth herself chose to remain unmarried and childless. There is a popular legend that Elizabeth’s relative Robert Carey plucked the ring from her finger when she died at Richmond Palace. Robert Carey’s father was Henry Carey, the son of Mary Boleyn. Carey took it straight to James I, as proof Elizabeth’s death and James’ ascension to the throne of England. James and his Queen Anne of Denmark dispersed and subsequently lost Elizabeth’s jewellery collection. The next trace of the ring comes in the form of Alexander Home, who received the ring from James I. It descended through the Home’s family and was then acquired by Arthur Lee, the Viscount Lee of Fareham. Lee then presented his country house for the use of the Prime Minister, and with it, its extensive collection of historical artefacts. The iconic ring remains there.
Christina Rossetti’s ‘Goblin Market’ primarily serves as a warning to women about indulging in their sexual desires. Laura’s interaction and excessive gorging of the Goblin fruit allude to her indulgence in her sexual desires, and Rossetti uses the tale to warn women of the dangers of such activities. The passage being studied, lines 115-162, takes place after Laura’s first encounter with the Goblin Men and recounts her buying of the fruit.
Fruit is symbolic of sexuality, and Laura’s obsession with it supports the idea that she is indulging in her sexual desires with the Goblin Men. Marina Warner argues that the consumption of the fruit symbolises sex, and this metaphor further solidifies the idea that, by consuming the fruit, Laura is indulging in her sexual desires. The uneven rhyme scheme alludes to a chant, a string of words shouted by one group in unison. This presents a disturbing image, as the young Laura is outnumbered by the Goblins who encourage her to indulge in the fruit, and therefore her sexual desires.
Laura does not just eat the fruit but gorges herself to excess. The repetition of ‘suck’d’ demonstrates the magnitude of her sexual appetite, and desire to consume the fruit in its entirety. Laura is unable to stop herself from eating the fruit, even when her lips grow ‘sore,’ implying that her desire to indulge in the fruit outweighs any physical pain that occurs from the strain of consuming it. This provides an insight into her lack of care for her physical self and her reputation. Laura’s gluttony disorientates her, and she concludes that she ‘knew not was it night or day,’ emphasising the intensity of her feasting, which has affected her senses. Her cognitive ability is also compromised, which is reflected in the lack of grammatical coherency in the above quotation. Rossetti warns women of the direct effects of indulging in their sexual desires excessively, through Laura’s experiences.
It is significant that Laura gorges herself to excess, as this highlights the dangers of female sexuality. Laura’s obsession with the fruit is directly linked to her large sexual appetite, which would have been discouraged by Victorian society, as such appetites would have threatened Victorian social ideals. Victorian women were prized for their virginity and purity, and the loss of it would ruin their reputation. They were not supposed to enjoy sex, as men did, and would only endure it in order to produce children and fulfil their societal role. Laura’s large sexual appetite would have subverted that of the male population, threatening the stability of Victorian society. Laura’s excessive gorging of the fruit implies the magnitude of her sexual desires, which highlights the dangers, and disruptive nature, of female sexuality within Victorian society.
Lizzie’s warning implies that Laura should have known not be tempted. Lizzie notes that ‘twilight’ is a dangerous time for ‘maidens.’ ‘Twilight’ is the time of day between lightness and darkness. The specificity of this time suggests that Laura willingly sought the Goblins, as such a specific time of day is easy to avoid, and should be, considering it is dangerous. The changeable state of nature also reflects the changeable state of Laura’s purity, which she has now lost, as she has indulged in her sexual desires. It also speaks to her transition from girlhood to womanhood, a change that is facilitated by the loss of her virginity. ‘Maiden’ refers to a virginal woman, implying that, before she left, Laura was a virgin and that her sister still believed her to be so. The previous events validate the truth in Lizzie’s warning to Laura, even though ironically, the former is unaware of her sister’s transformation. ‘Loiter’ implies Laura’s complicity in the situation, as she appears uncaring that she was ‘in the haunts of goblin men.’ Laura willingly ventured into the ‘glen’ at a dangerous time of day, with the intention to find, and buy fruit from the Goblin Men, making her fully culpable. This serves as proof that Laura herself yielded her virginity to the Goblins and indulged in her sexual desires by her own volition, despite the well-established warnings that Lizzie repeats concerning the dangers of twilight and the Goblins.
The story of Jeanie illuminates this further, as it details the later consequences of dealing with the Goblin Men. Following her first encounter, Jeanie ‘pined and pined’ for the Goblins, despite their abandonment of her, much to her distress. The consequences of her encounter are explained through the lack of ‘grass’ on her grave. This implies that she is tainted, due to her encounter with the Goblin Men. Her tainted nature cannot facilitate the growth of new life and nature upon her grave. This serves as Jeanie’s punishment, as she ‘grew grey.’ Such a colour implies Jeanie’s barrenness, and inability to become a wife or mother, which were the traditional roles for women in Victorian society. Jeanie’s story explains the consequences of dealing with the Goblin Men. Similarly, to Laura, Jeanie did ‘loiter’ while seeking the Goblin Men. Jeanie and Laura’s stories appear to run parallel to one another, and Lizzie’s recounting of Jeanie’s story serves as a warning to Laura and other women about consorting with the Goblin Men. Jeanie’s story also foreshadows the fate of Laura, if Lizzie did not intervene.
Laura’s indulgence in her sexual desires result in her becoming a fallen woman. Her form of payment, the ‘golden lock’ is symbolic of her fall, as she offers up a part of her own physical body to the Goblins as payment in exchange for the fruit. This references prostitution and strengthens the idea that she gives up her virginity to the Goblins, as she is parting with a piece of her physical self. The image plays out as a transaction, for which she trades her body for the Goblin fruit. The fact that her hair is gold emphasises its economic value, as well as her beauty. The Madonna-Whore complex could come into play here, as the contrast between her purity and sexual degradation. Her temptation to eat the fruit and her indulgence in it is similar to that of Eve in Genesis, as she too ate the forbidden fruit and fell from the grace of God. This enhances the status of the poem as a whole, to a quasi-religious text, and one that is supposed to be educational. By rendering up part of herself and indulging in the fruit, Laura, like Eve, becomes a fallen woman. This leads Serena Trowbridge to argue that the poem is a ‘parable of sexual sin.’ Her use of the word ‘parable’ again likens the poem to a Biblical story, emphasising the idea that Rossetti intended for the poem to be semi religious, and a warning to women against the pursuit of their innate sexual desires.
 Mary Arseneau, Anthony H Harrison, Lorraine Kooistra, The Culture of Christina Rossetti: Female Poetics and Victorian Contexts (Ohio, Ohio University Press, 1999) p. 117.
Throughout the civil rights movements several events caused black people to migrate around America, and civil rights issues moved with them.
This change began after the end of the Civil War in 1865, following the passing of the Emancipation Proclamation in 1863. This allowed black people to move freely across the USA. They began to move throughout the 1900s, and this movement continued to move the issues of civil rights throughout America.
The migration of black people during, and before, World War One can be deemed an important turning point in the changing geography of civil rights issues in the USA. The increase of black Americans in the North led to competition for jobs, highlighting civil rights issues as white people and black people found themselves in close proximity to one another, breeding racial tension. Originally, black people moved to the North from the South to escape the lack of jobs. Although black people also sought to escape de jure segregation in the South, they faced de facto segregation in the North. In the South, the cotton industry had declined due to the presence of the Bull Weevil in Texas in 1914. It originated from Mexico, first appearing there in 1982. From 1920 to 1932, the price of cotton dropped from 42 to 5 cents due to lack of demand. Many sharecroppers were impacted and moved north, highlighting civil rights issues in the North, as black people were willing to work for less money than white people, creating racial tension.
World War One can still be deemed an important turning point in the changing geography of civil rights issues. The tensions caused by this particular migration during World War One can be seen in several examples of riots. The KKK were revived in 1915. In July 1917, a major race riot occurred in Illinois, which preceded the Red Summer. 48 black people were killed during this time and 300 buildings were destroyed. This highlights how civil rights issues were recognised during the migration of World War One, as competition for jobs led to increased racial tension and the outbreak of a riot.
Black people began moving to the town of Harlem in New York City in 1905, and this proved to be the most significant turning point for the changing geography of civil rights issues. As black people were concentrated into one specific town, and aided each other by setting up workers unions for black people, this community explored issues of civil rights to a greater extent. This however, led to an increase in racial tension. This migration led to the Harlem Renaissance of the 1920s, which caused a growth and exploration in black culture. From 1920 to 1930, 87,000 black Americans moved to Harlem. Claude McKay declared it to be the ‘black capital of the world.’
People such as Marcus Garvey fought for black rights, establishing the United Negro Improvement Association in 1914, and he moved to Harlem from Jamaica to promote it. He established the idea that black was beautiful, and advocated the idea of self-help. A. Philip Randolph too demonstrates the significance of the move to, and concentration, of black people in Harlem. In order to combat black unemployment, Randolph set up the National Brotherhood of Workers of America. Due to de facto segregation, black people were barred from joining workers unions. By setting up his own union, Randolph ensured that black people had the opportunity to gain work, thus highlighting civil rights issues in the North.
Racial tension increased in Harlem, leading to a riot in 1943, in which 700 people were injured. The dispute was triggered due to poor resources that black people were afforded. Black schools were of poor quality and in terms of housing, 1979 out of 2191 houses had no windows.
Black people also demonstrated political power in Harlem, as their presence allowed for a black candidate to enter politics within the North, highlighting the changing geography of civil rights issues. Oscar De Priest was elected as a Representative of Illinois in 1929.
Another significant turning point in the changing geography of civil rights issues could be the slow drift back to the South beginning in the 1950s. In 1970, 53% of black people lived in the South. Black people began to flee the North due to high crime and a lack of jobs. Areas such as Florida and Texas, located in the ‘Sun Belt,’ offered jobs and employment which proved attractive to black Americans. The North east became known as the Rust Belt, an area of the USA associated with declining industry, after the oil crisis of 1973. Car manufacturing in Detroit also decreased, with the number of firms and employers halving from 1947 to 1977. Initially, black people fled the South due to racism and violence, which was now fast occurring in the North. This changing geography of black people highlights the changing movement of civil rights issues. The move back to the South implies that the civil rights movement was effective to an extent in the South.
In conclusion, the most significant turning point in the changing geography of civil rights issues was the move to Harlem in 1905, which laid the foundations for the Harlem Renaissance, and establishment of a distinct, black culture. As black people formed a united, concentrated group, they were able to find work and even enter into politics.
Critic Kenneth Muir is right in saying that there are ‘many different explanations’ for Hamlet’s procrastination in avenging his father. Hamlet is delayed by others and delayed by himself, as he grapples with his own conscience in his quest to avenge his fathers’ ‘foul and most unnatural murder.’
Hamlet is clearly grieving for his father. In his ‘inky cloak,’ he chastises his mother for suggesting that he looks on Denmark (Claudius) as a ‘friend,’ and goes on to say that the black that he wears does indeed ‘denote’ him. He tells Gertrude that his demeanour indicates that he is grieving, but it is what is ‘within’ that is the truth, and the truth is that he is bereaved. It is clear to the audience that early on in the play, Hamlet is consumed by grief. Claudius and Gertrude appear insensitive, as Claudius declares that Hamlet’s grief is ‘unmanly.’ it is understandable that Hamlet feels isolated, as those who are supposed to care for him instead patronise him, and do not display empathy. This is in part why Hamlet delays his revenge. Hamlet must be solely focused on avenging his father, as he later realises, but in order to be focused on this task he has to make peace with his bereavement. Before he has done this he is tasked with revenge, and he delays this act so he can come to terms with his loss, and clear his mind to make way for the vengeful act. The true extent of Hamlet’s grief is revealed in his soliloquy in act one scene two, in which he hails his father as ‘excellent,’ and compares him to ‘Hyperion’ who in Greek mythology was the human embodiment of the Sun. His idolisation of his father intensifies his grief, and delays his revenge further as it becomes more difficult to come to terms with. The love that he bears for his father leads to a comparison of his father to Claudius, in which he muses that Claudius is ‘no more like my father, than I to Hercules.’ As well as his grief it appears that Hamlet has an underlying anger towards Claudius as he has replaced his father in every way, and he is not worthy of such a position. With these emotions running around in his head, it is clear that Hamlet is addled.
The Ghost confuses Hamlet further, and causes him to descend into hysteria, in which he swears to ‘remember.’ Hamlet’s initial trusting of the ghost dwindles however, as Hamlet then doubts that the Ghost even existed. It is also this doubt that delays Hamlet’s act of revenge, and it begins with Horatio’s fear that the Ghost may draw Hamlet into ‘madness.’ Hamlet tries to adopt the ideas and mindset of Horatio and accept that the Ghost ‘may be the devil.’ Hamlet assesses the idea, and concludes that this could be the case, and that he was taken advantage of due to his ‘weakness and melancholy.’ Hamlet’s moral compass can be seen here, as he does not want to kill Claudius unjustly, and at first seeks to discover whether the Ghost is truly real. The idea also displays Hamlet’s rationality and intelligence. In the Elizabethan age, ghosts were seen to be an ill omen, and Hamlet acknowledges this and thinks seriously before he allows the ghost to ‘damn’ him, if that is the intention of the Ghost. This doubt leads to a detour in the plot, through the deployment and formation of ‘The Mousetrap.’ A great deal of time is spent on the play, with the soul purpose of catching the ‘conscience of the King.’ If Hamlet was certain of the Ghosts’ existence, and had remained in such an impassioned state, it is conceivable to believe that Hamlet would have avenged his father a lot sooner. Hamlet grapples with the idea of seeming, and being, as the Ghost appears real to him, yet may not be. In the closet scene, the idea is looked into further, as only Hamlet can see the Ghost. This casts doubt over the Ghosts’ existence for the audience, yet it is too late for Hamlet to revoke on what he believes he has seen. It can be argued that, following his grief, this doubt is what truly hinders Hamlet’s revenge, as in the scene after the play, act three scene three, Hamlet appears closer to avenging his father than ever before.
After the Dumb Show Claudius finds it difficult to conceal his guilt. This culminates in a confession, which ultimately condemns the ‘rank’ actions of Claudius, and presents Hamlet with an opportunity to kill Claudius. Hamlet comes close to killing Claudius, but does not carry out the deed. After discovering that Claudius did in fact murder his father in the previous act, Hamlet seems more prepared than ever to kill him, but decides to delay again to ensure that there is ‘no relish of salvation in’t,’ ensuring that Claudius does not go to ‘heaven.’ It appears that Hamlet wants to seek justice for his father at the expense of Claudius, leading him to delay the revenge further. This delay however is different, as it is clear that Hamlet does intend to avenge his father. Hamlet appears to plan his revenge, and wants to slay Claudius in ‘rage’ or in ‘th’incestuous pleasure of his bed.’ Due to his intense planning, one can argue that Hamlet was always going to kill Claudius but could not, as he was unsure of the Ghosts existence and did not trust it’s words. Hamlet’s decision to kill Claudius when he is committing an immoral act is likened to the death of his father, who was killed in the ‘blossoms of my sin.’ Now that Hamlet believes the Ghost, he knows that without the Last Rites, Claudius’ soul too will be ‘doomed’ to burn in ‘fires.’ In Elizabethan England, the sacrament of the Last Rites was a core belief in the Roman Catholic Church, and without it, it was believed that souls could be confined to purgatory. This acts as an incentive for Hamlet, as he wishes for Claudius to be punished for murdering his father, and as he has accepted the word of the Ghost, he knows that Claudius will be. Hamlet’s true anger and feelings towards Claudius are conveyed here, and his desperation for Claudius’ suffering provides the reason for the delay in Hamlet’s revenge, as he wants to ensure that Claudius’ soul has the greatest chance of going to hell.
Hamlet’s feelings towards his mother also play a part. During the closet scene, Hamlet’s outburst of anger towards Gertrude delays his revenge in that moment, but whether this is an overarching theme in the play is questionable to an extent. Hamlet does chastise his mother especially in relation to her ‘o’erhasty marriage.’ In addition to his grief, and doubt over the Ghosts’ existence, Hamlet deals with the repercussions of his mothers’ marriage to his uncle. Hamlet’s many emotions appear to delay his revenge and make him appear indecisive, and one of these emotions is his conflicting hatred and love towards Gertrude. He is angered that she has been ‘stained,’ by Claudius, but also angered that she even accepted him, stating that she has his ‘father much offended.’ The pinnacle of Hamlet’s vexation is exposed in act three scene four, as he clearly cannot understand why Gertrude would marry a ‘murderer and a villain.’ This question is key to Hamlet, and without it’s answer, the idea poses another threat to the carrying out of revenge, as it is another obstacle Hamlet must overcome. His view and respect towards Gertrude has dramatically decreased, as she claims that her marriage vows to King Hamlet are now rendered ‘false,’ as she has married the ‘mildewed ear.’ His exasperation aimed at his mother and his confusion over her decision to marry Claudius weighs on his mind, and temporarily distracts him from obtaining his revenge, as the Ghost agrees. The Ghost tells Hamlet that the conversation has a ‘blunted purpose,’ insinuating that clearly, in this scenario, Hamlet’s release of inner anger towards his mother has directly delayed his act of revenge and is pointless.
However, when trying to decipher the reason for Hamlet’s delay in killing Claudius, one could argue that the answer is simple. Many critics agree, including Goethe, that Hamlet is of a ‘pure, noble and most moral nature’ suggesting the idea that revenge is not in the nature of Hamlet. In act two scene three, even Hamlet himself notes that he is ‘pigeon-liver’d,’ and that his actions lack ‘gall.’ He appears to be stuck in a situation of inaction, and in one instance comes close to killing Claudius, but still does not. In contrast, Laertes is certain that he will have his revenge. Upon hearing of his fathers death and witnessing the madness of his sister, Laertes swears that his ‘revenge will come.’ From act four scene five Laertes’ aim is made clear, and remains clear until the end of the play, unlike Hamlet’s wavering feelings. In this respect, it appears that Hamlet’s indecisiveness and moral compass hinder him from exacting his revenge, and give him the impression that he is not cut out for such an act, unlike Laertes. This could lead one to believe that Laertes looks at the issue of honour differently, and more seriously than Hamlet, as the reason for Laertes’ revenge seeking is because his honour ‘stands aloof.’ As Laertes feels his honour is under attack, he immediately acts to reclaim his dignity, unlike Hamlet. This could suggest that Hamlet delays his revenge as he is not the correct person to carry out such an act, and as he does not take honour so seriously enough as to kill a man for it. Although Laertes displays the positive attitude of decisiveness, one could argue that killing another man as he has threatened ones honour displays irrationality. Laertes appears to follow the ancient Roman religion of Fame. This prized family honour above all things, and as a man’s reputation was all that lived after him, it was imperative that justice was done. It fell to his son to take the law into his own hands, and Laertes can be seen to do this by agreeing to avenge his father. Laertes’ pure motivation to avenge his father is due to his damaged pride, which although Hamlet does mention this, it appears that Hamlet seeks to ensure that his father is justly avenged (ensuring that Claudius goes to hell). When discussing Hamlet in relation to Laertes, it can be said that in comparison, Hamlet delays his revenge, as he is not the correct person to carry out due to his lack of decisiveness and drive. His wish to ensure Claudius’ condemnation also delays him, whereas the issue of Laertes’ dignity being restored means that his revenge can be carried out in any situation, unlike Hamlet’s.
As Hamlet has more weighing on his mind than other characters, and has many more character traits, the reason for his delay in avenging is apparent. In contrast to Laertes, his distinct decisiveness and high regard of honour pushes him to plot to kill Hamlet, but Hamlet’s wish to ensure that Claudius suffers delays him. Shakespeare appears to be unfair to Hamlet, as if Hamlet did not have to manage his grief, along with his feelings about Claudius, Gertrude and the existence of the Ghost, his revengeful act may have occurred a lot sooner.
The complicated relationship between Britain and India began with the formation of the East India Company in 1600, by the command of Elizabeth I. the intention of the company was to explore and to compete with other powers in the East Indies. Britain was not successful here, so turned her attention to India. In 1640, a representative of the Company got a grant of land in southern India and built Fort St George. More forts followed, and Britain began to compete with the Dutch and the French who also had a presence in India. Britain then started exporting spices in 1690.
The decline of the Mughal Empire, signalled by the death of Aurangzeb in 1707, also gave Britain an opportunity to gain more control over India. The falling empire resulted in a power vacuum, which Britain took advantage of. The Bengalese and the French were defeated by the British in 1757, allowing Britain to add more land to their arsenal. The Company overshadowed other European powers, and using their large naval fleet to ferry more and more men to India. People also enjoyed trading with the Company, and Britain had a formidable presence and influence in the south, along with the French.
Warren Hastings’ took the position as the head of the Supreme Council of Bengal in 1772. There needed to be changes, as the East India Company had left land infertile in Bengal, which resulted in a famine two years prior, which caused millions of deaths. Hastings, as well as Robert Clive is credited with laying the foundations of the British Empire in India. Hastings emphasised the importance of learning about the culture and languages of India, believing that this was the only way to understand the country fully. In 1773, Hastings introduced a series of Regulating Acts which helped the East India Company avert bankruptcy. Calcutta was redeveloped and became the capital of British India. He ensured that English civil servants had some sort of understanding of the country and sought to document the history of India with the help of Indian scholars.
The Anglo-Sikh Wars took place throughout the 1840s and saw Britain wage war on the Sikh Empire. Britain won, and as a result, fifteen year old Maharaja Duleep Singh was taken away from his family and homeland to be raised in Britain, under the watchful eye of Queen Victoria. The threat of the Sikhs had been neutralised. As a sign of subservience to Britain, Maharaja Duleep Singh handed Victoria the Koh-i-noor in 1849. Duleep became a favourite of Queen Victoria and was known as the ‘Black Prince’ in Britain.
The Indian rebellion of 1857 rocked the Company. The Company employed local Indian people to work in the army, who were known as ‘sepoys.’ There was already tension present, as the Indian people continued to be exploited by the British, which resulted in a famine. Taxes were high, and the Indian textile industry was not supported. Indians also felt the pressure to convert to Christianity, which caused further unrest.
Word then went around that the bullets that the army were supplied with had been dipped in pig or beef fat, to ensure that the guns were easier to load. Cows are sacred in India, and this fact added to the already increasing unrest amongst the army. This led to a full-scale rebellion. Both sides committed atrocities, with both Indians and British being murdered, including women and children. The Indians were brutally suppressed by the British, and some were tied to cannons in order to be executed. This was an old Mughal punishment. The rebellion ultimately failed due to the differing intentions and religions of those involved, as well as the lack of organisation and funding.
Following the rebellion and bloodshed, the East India Company was disbanded, and India found itself under the control of the Crown. India formed the jewel in the crown of the British Empire. Queen Victoria added ‘Empress of India’ to her title in 1877, under the Royal Titles Act passed by Benjamin Disraeli’s government. Britain also brought several new modes of transport to India during this time, including trains, telegrams and the steam ship.
As time progressed, Indians felt that they were owed independence. The Bengal famine of 1943, and Britain’s poor handling of it caused cries of independence to grow further. The debates continued, with Gandhi on one side and political figures like Muhammad Ali Jinnah on the other, who thought that India should be divided depending on religious territory. British Prime Minister Clement Atlee was sympathetic, and so India achieved independence in 1947. This was not without bloodshed however, as Partition displaced 10-12 million people. British India was split into two independent states, India and Pakistan. The redefining of the borders meant that people were displaced depending on their religious views, and there were numerous incidences of ethnic cleansing across the country. This post is just a snippet of the rich and turbulent history of India.
Thanks for reading!
 Kopf, David, British Orientalism and the Bengal Renaissance: The Dynamics of Indian Modernization, 1773-1835 (Princeton, 1969), part I, pp. 13-42.
In Henrik Ibsen’s play ‘A Doll’s House’ Torvald Helmer’s treatment of his wife Nora appears to be in line with 19th century societal expectations of men. As the man of the house, Helmer brings in the money, but also chastises Nora, controls her and is at times cruel to her. When discussing what has changed in the 21st century, it can be argued that the actions of Nora symbolise the developing and changing role of women.
In the opening stage direction, it is noted that the Helmer’s live ‘comfortably and tastefully.’ What Ibsen describes is a classic bourgeois family, judging by his description of the house and the role of Nora. Ibsen even wrote the play for the middle class urban audience, writing it in ‘riksmal,’ the official language of the church and state. Although Nora is in charge of the house, it is still decorated in the way that ‘Torvald likes,’ emphasising the control that he exercises over the whole household. This plays to the ideology of the ‘separate sphere,’ which describes the ‘natural habitats’ of a man and woman. The fact that women had such great influence in the home was even used as an argument against giving them the vote in Britain. Nora, as the wife, plays an important domestic role, whereas Helmer fulfils his financial duties. Although it appears that the roles of men and women were distinct, Helmer still influences the decisions that Nora makes when furnishing the household. The fact that one can gather so much from the stage directions is also a trait of the ‘Well Made Play,’ which depicted the normalities of life populated with identifiable characters. Nora and Helmer are identifiable in this way, as they represent the classic middle class roles of men and women in the 19th century, and Helmer in particular is concerned with social values and image, bringing the character in line with societal expectations.
Helmer is developed in line with societal expectations purely because he is the man of the house, and brings in all family income. The survival of the family rests on Helmer, as the man of the house, which further emphasises the importance of the loan, as Nora effectively ‘saved Torvald’s life,’ and by extension, that of her family. This is in line with the idea of a patriarchal society. Helmer works hard, and values that his house is not founded on debts, as if it were, it could never be a ‘place of freedom and beauty.’ Helmer’s romanticizing of his financial situation emphasises its importance to him, in contrast to Nora’s spending. Helmer is seen frequently carrying ‘papers’ and exiting to go to the ‘office,’ further emphasising and defining the role of the traditional 19th century man, who, during this time commuted to his place of work. It is fitting that Nora’s attempts at ‘being a man’ stretched to ‘copying,’ as she does not fully understand how hard Helmer works, and acts as a foil to this.
Helmer can also be seen as spiteful and disrespectful towards his wife, and although this may not define all Victorian men, it is worth noting that he enjoys controlling Nora. He calls her a ‘squanderbird’ and wags ‘his finger’ at her when she spends money. As a squanderbird would not survive in the winter, Nora depends on Helmer, as Helmer depends on being in control of her. His security depends upon him feeling superior, as proved by the games they play, and Nora’s cooing that she will do ‘lots of pretty tricks for him.’ This is paternalistic, as Nora adopts the role of surrogate daughter, and delights in rebelling against Helmer when buying ‘macaroons.’ This show the first signs of changes that develop through the 21st century, and also foreshadows Nora’s act of rebellion against societal expectations at the end of the play. Helmer however, maintains his focus on typical values, mocking Nora and calling her ‘little Miss Independent.’ This demonstrates his delight in being in control, and also how he mocks her, and her gender. By declaring that the ‘germs of evil’ are ‘always spread by the mother,’ Helmer develops his own philosophy and view of societal roles, and continues to chastise Nora in her role as the mother.
Helmer also controls Nora sexually. When asking which character runs the doll’s house, and who is playing with the dolls, one could see Nora as Helmer’s sexual plaything. He even notes her ‘pretty eyes’ and ‘delicate little hands,’ describing her like a china doll. Nora also plays up to this idea, and uses her sexuality to gain money from him. Notably, she does this by the ‘stove’ which represents a place of warmth and love, where Helmer, who has just come in from the cold, is pliable to her demands and sexuality. It is obvious that in the play, Nora’s behaviour allows Helmer to control her, as while she begs him for money, she plays ‘with his coat buttons,’ leaving him in a superior position, which she has placed him in. One could argue that she is in control, as she gets what she wants also. He enjoys this, as well as her use of her sexuality, and delights in indulging his wife. Nora’s declaration that she could never go against Helmer’s ‘wishes’ emphasises her significance, as she too shapes Helmer and brings him in line with societal expectations, as the man was the dominant figure in the home. In contrast, the ideal wife was painted in Coventry Patmore’s poem ‘The Angel in the House,’ and was described as charming and graceful. In this instance, Nora is both of these things. Helmer’s decision to have Nora ‘dance the tarantella’ supports this idea, as he will enjoy seeing her dressed as a ‘fisher girl.’ This dance will also tire her out, and make it easier for Helmer to seduce her afterwards.
It is worth mentioning that Nora may not be seen as the conventional 19th century woman when discussing sexuality, as when she brandishes her ‘flesh’ coloured stockings in front of Doctor Rank. This is the 19th century flirting. The sexual appetite of a woman was discouraged, and emphasis was placed on the pursuit to become a mother, not sexual fulfilment. When relating Nora to the changes of the 21st century, one could argue that she embodies this change, and acts outside of the societal norms, by parading her intimate clothing in front of Doctor Rank. If one were to read the play in a feminist light, it would be perceived that Nora walking out at the end exemplified the breaking of societal norms, and the freeing of the bird from the cage. With this same reading, one could argue that Nora’s seductive actions toward Rank, whether she is aware that they are or not, signal her beginning to break societal norms, and move towards the more accepting attitudes of the sexuality of women in the 21st century.
When examining Helmer, one can see that he fits into societal norms with his arrogance. Helmer’s attitude towards Nora and her father exemplify this. Helmer insults her father, declaring that he did not have an ‘unassailable reputation,’ but that he does. This is an example of dramatic irony, as Helmer doesn’t realise how much he truly owes to his wife, and how the loan could destroy his own reputation. Helmer’s declaration brings him in line with societal norms further, as it reiterates the point that he cares greatly about social standing and image. It is this realisation that, at the end of the play, pushes Nora to leave him. Nora also acts as the catalyst for the dismissal of Krogstad, which stems from his ‘petty’ hatred of Krogstad calling him by his Christian name, claiming it to be improper. In the 19th century, this would establish the two as equals, and as Helmer is concerned with maintaining his authority, for him, this was a grave error. This develops the character of Helmer in line with societal roles, as he conforms to ideas about class, and what respect constituted. In response to the character of Helmer, Michael Meyer, in 1965, declared that what was needed was a ‘revolution of the spirit of man.’ It is Helmer’s attitude that pushes Nora to leave at the end of the play, allowing her to embody the changes of the 21st century.
When discussing what has changed within the 21st century, it is fair to argue that women have a greater, and more equal role, in society. Nora frequently appears to be breaking the traditional role of the submissive and meek wife. Her role in the story is not only defined by Helmer, as it is he who instructs her how to furnish the house, but is also defined by the loan. Such an act was illegal in the 19th century, unlike now. Nora, although it may not be seen as strenuous, also took little jobs to pay off the loan, and one should not look at her so ‘patronisingly,’ as she did save Helmer from ruin. Kate Millett, in 1971 noted that ‘Nora confronted every convention and the chivalrous masculine prejudice that caged her.’ Nora’s restlessness, especially at the beginning of act two, likens her to a bird who is trapped in a cage, waiting to break free from the societal bonds and stereotypes that entrap her. In this respect, Nora embodies what has changed within the 21st century, in contrast to Helmer’s portrayal as the classic 19th century man.
Elizabeth encountered several problems throughout her long reign which included faction, developing from Cecil and Essex, war and the issue of succession. But did these issues cause significant political instability?
The development of faction with Elizabeth’s government only led to moderate political instability within England. John Guy notes that Essex and Cecil ‘rivalled’ each other and that the ‘feud escalated.’ Both Essex and Cecil vied for the queen’s affection, and she had to manage them effectively to ensure that one did not overpower the other. By doing this, Elizabeth ensured that she could use both Essex and Cecil in ways that benefitted her in an attempt to ‘control her policy.’ Cecil’s father William was a close political adviser to Elizabeth, and him and his son both demonstrated Elizabeth’s caution and restraint when dealing with foreign affairs, which elevated him to become the Queen’s Secretary in 1596, unlike Essex. Essex resembled one of the old nobles, and his status depended on being close to Elizabeth, and through her patronage. Essex displayed an appetite for glory and war, and had some successes in Cadiz. The difference and conflict between both factions caused the ‘atmosphere’ in court to deteriorate as Elizabeth found herself playing peacemaker between the two factions. However, although this makes faction seem like a serious threat, Guy’s evidence makes it appear that it is only a moderate one, as Essex is eventually ‘forbidden royal presence’ in 1598. This demonstrates Elizabeth’s sovereignty at court, as she is able to bar him from seeing her. This led to the downfall of Essex as his power depended on his closeness to her and his patronage. This shows that overall; the threat of faction was only moderate as Elizabeth was able to put an end to it. Initially Loades argues that faction is of much greater threat, as he notes that the ‘younger gentry’ saw Essex as the ‘man of the future.’ He comments that Essex house became ‘headquarters for a faction.’ Following Essex’s house arrest in 1599 Elizabeth didn’t renew his monopoly on sweet wines the follow year, causing him to fall into debt. Essex’s rapid decreasing in favour weakened his position, and so in 1601 planned to use armed force to capture the court and the queen. Essex, as Loades argued, ‘stirred up some of his followers to plot murder,’ and when the court was alerted, Essex launched a revolt and 140 men marched towards London. This failed however, and after Essex House was besieged, Essex was captured. Loades notes the moderate nature of the incident stating that the revolt ‘could have caused a dangerous insurrection’ if it had been ‘efficiently managed.’ Essex was executed on the 25th of February 1601 following the revolt, demonstrating the lack of threat that he presented. This put an end to the presence of faction within Elizabeth’s court, demonstrating that Essex was not strong enough to overpower her of the court. Loades’ assertion, that the revolt was not well managed, demonstrates the lack of threat, forming the conclusion that faction only posed a moderate threat to Elizabeth’s government as supported by Guy and Loades.
Another factor that led to political instability in England was the issue of war. The Spanish Armada were a constant threat after their defeat in 1588, and Guy notes that Essex was frequently ‘urging campaigns in Europe.’ Essex favoured the idea of national glory and tried to persuade Elizabeth to enter into foreign wars, unlike Cecil who had a cautious attitude to foreign affairs. Guy also Essex’s favour began to diminish before his ‘departure to Ireland.’ Tyrone’s revolt began in 1593 and became a full scale revolt by 1595, and was led by trained English and Spanish captains. Tyrone began with an army of 100 infantry, 4000 musketeers and 1000 pikemen, demonstrating the scale and size of the revolt, making it a significant factor that led to political instability. English supply lines were stretched, and the added threat of Spain made the threat of war a significant factor that led to political instability during the reign of Elizabeth. Loades notes that the ‘grinding effort of the war’ contributed to a turbulent time in England. With the intervention of Lord Mountjoy, the revolt came to an end in 1603, again demonstrating that the threat of war was not significant enough to cause genuine instability as it was put down.
Another factor that caused political instability in England was the issue of succession. Loades alone notes that Elizabeth’s ‘ageing rule’ and the fact that her reign was ‘drawing to a close’ caused instability within England, and particularly caused conflict between Elizabeth and Parliament. In 1563 and 1566, Parliament brought up the issue of succession, which angered Elizabeth. In response, she stated that Parliament should only concern itself with matters of ‘commonweal,’ meaning matters concerning the people and not her own successor. Loades argues that the issue of succession caused ‘widespread restlessness and dissatisfaction.’ This could imply that the issue of succession led to the growth of the Cecil and Essex factions, perhaps arguing that the instability caused from faction originally came from Elizabeth’s ambiguity over her successor. Although this conflict in Parliament over succession did cause political instability, Elizabeth still possessed more power than Parliament due to her prerogative powers.
Considering that the issues of faction, war and conflict with Parliament were easily quashed by Elizabeth, it is clear that significant political stability was avoided.
Thanks for reading!
All information taken from:
 A. Grundy, Religion and state in early modern Europe, (London, Pearson Education, 2015).
Cathy’s ‘I am Heathcliff!’ speech, is probably the most iconic declaration of love in literature. It is so long that it should probably be classed as a series of speeches. I certainly found it powerful and overwhelming, which leads me to believe that at the heart of ‘Wuthering Heights’ is a story about a love that is so pure, and so strong, that it transcends the boundaries of the physical world. Surely that is the purest form of love? It is difficult to pinpoint a specific piece to analyse, as the conversation between Cathy and Nelly goes on for seven pages. Let us see what Cathy says exactly:
‘… My great miseries in this world have been Heathcliff’s miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty strange: I should not seem a part of it. My love for Linton is like the foliage in the woods: time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being. So don’t talk of our separation again: it is impracticable; and – …’ 
There is a lot to unpack here. The first few lines concerning Heathcliff’s miseries imply that Cathy feels so connected to Heathcliff, that his suffering automatically means her suffering. They feel the same, they suffer the same. ‘My great thought in living is himself’ is quite a complex statement, and when I first read the novel, I really had to think about it. It almost does not make grammatical sense, especially the use of the word ‘himself.’ It would make more sense to use the word ‘him,’ but the inclusion of the word ‘self’ emphasises the fact that Cathy is thinking about Heathcliff’s whole, entire person. Cathy’s thoughts just concern Heathcliff, she is so in love with him that no other thought enters her mind. She does not contemplate one aspect of him, but him in his entirety. It seems that she cannot view Heathcliff in a negative way, she views him as one whole, and that whole that she sees is good.
She goes on to say that her home is Heathcliff, and if he were not here, then she would be totally lost and abandoned. The violence of the words ‘perished’ and ‘annihilated’ emphasise Cathy’s passion and love for Heathcliff, as well as the general melodrama of the novel. Cathy compares her love for Edgar to the ‘foliage in the woods,’ and her love for Heathcliff to the ‘eternal rocks beneath.’ Foliage obviously dies in the winter, implying that Cathy’s love for Edgar will not last, and will change pretty fast. Winter here represents the turbulent and difficult times in marriage, and essentially, when the going gets tough, Cathy knows that her and Edgar will break down… and spoiler… they do. The rocks beneath emphasises how stabilising Heathcliff is to Cathy, and how he grounds and attaches her to the physical world, and how he also grounds her in herself, as he is part of her. As these rocks are ‘eternal,’ the connection between Cathy and Heathcliff will never die, even when they themselves perish. Cathy, or rather Brontë, definitely knows how to use imagery.
Cathy’s ability to shape-shift into Edgar Linton’s ideal woman is a classic trait of the Gothic heroine. Cathy actively betrays herself to conform to societal ideals. She kind of works as a femme fatale, as she captivates both Heathcliff and Edgar, as they fall in love with her, and this draws everyone into madness and despair. I would not say she is a typical femme fatale, as usually femme fatale’s act with intent. Cathy does not intend to make everybody’s lives a stressful misery, so she is kind of a femme fatale by accident. In general though, Cathy is not one archetype or character, she is multiple things, as demonstrated by her differing identities of Catherine Earnshaw, Catherine Heathcliff and Catherine Linton.
It is almost like Cathy does not know how to talk about it without going on and on. She finally realises how to sum up the last seven pages, with the exclamation ‘I am Heathcliff!’ The fact that ‘am’ is in italics emphasises the shock and melodrama of Cathy’s realisation. This sentiment sums it all up in one. Even a discussion about separating from Heathcliff causes Cathy so much distress that her speech ends, and she trails off. ‘Impracticable’ emphasises the impossible nature of it, that Heathcliff and Cathy cannot be separated. It is a physical impossibility. It literally cannot happen. Of course, it does later on in the novel, and it is Heathcliff’s grief and rage that drives all the action for the remainder of the novel. So even though Cathy is only around for half of the novel, her impact is huge. Without her, really there would be no novel.
Thanks for reading!
 Emily Brontë, Wuthering Heights, (London: Wordsworth Classics), p. 59.
During the years 1517 to 1520, Luther’s 95 Theses spread rapidly across Germany. The These were originally written as an attack against Johann Tetzel’s selling of Indulgences, which were ‘permits’ that could be purchased from the Church to gain salvation. Obviously you cannot ‘buy’ salvation from God, so Luther clocked on that the Church was pulling a fast one. The publication of Luther’s 95 Theses was a serious challenge to the authority of the Roman Catholic Church. One comes to this conclusion because of Luther’s developing ideas and the reaction that they prompted from the Church.
Luther’s 95 Theses can be seen as a serious challenge to the church due to Luther’s developing and evolving ideas. Luther’s Theses initially attacked Indulgences, but over the next two years they appeared to develop and attack the papacy as a whole. This development could be blamed on people such as Cardinal Catejan and John Eck, who spurred him on to develop his ideas in response to their alacritous debate. Catejan, who was a renowned biblical scholar, was under orders to arrest Luther if he refused to recant at Augsburg in 1518, but decided to engage in debate with him after granting an imperial guarantee for Luther’s safety. This debate developed Luther’s ideas further, as it was here that he began to develop the idea of ‘sola fide,’ or faith alone. Luther argued that faith was the only thing needed for salvation, which directly combated the idea of Indulgences. For Luther, all that was needed for salvation was the ‘word of Christ.’ He also openly expressed the view that the Pope could make mistakes. It appears that the 95 Theses displayed only the beginning of Luther’s ideas, and his debate with Catejan caused them to develop.
The Leipzeig debates in 1519 too pushed Luther to develop his ideas further. For the past eighteen months, the Dominican Church had been attacking Luther through the use of pamphlets. At the debate, hosted by Duke George of Saxony, John Eck persuaded George to grant Luther safety, in order to engage in a debate with him. Eck previously believed that Luther had attacked the papacy, and the debate between the two of them led to the development of Luther’s ideas on this matter. Eck provoked Luther by discussing Luther’s views on papal authority, saying that he shared similar views to the heretic Jan Hus, who was burned in 1415. As Luther ‘understood the snare,’ he ‘raged’ and in this impassioned frame of mind, divulged his feeling that there was no evidence for the papacy in scripture. He used these ideas to attack and undermine Eck, and some development can be seen in his thought process, which began with the publishing of the 95 Theses. Development can be seen in his ideas, as this was the first instance in which he seriously challenged the papacy as whole, and not just clerical abuses, which he addressed in the Theses. He went on to denounce papal authority and claimed that the only authority within the Church lay in the general council. This was a group of bishops, archbishops and cardinals. The council was subservient to scripture, and also condemned Jan Hus. Luther went on to incriminate himself further by saying that they should not have killed Hus, and that his views were based on scripture. In Wittenberg, people began to support Luther, on which the debate had a great affect, as he was forced to express ideas in defence that would outline his new theological ideas and theories. Here Luther’s idea of ‘sola scriptura’ can be seen to develop, beginning with the serious challenge that he presented to the Roman Catholic Church in the form of the 95 Theses.
The severity of the papacy’s reaction to the Theses is also telling. After the meeting at Heidelberg in 1518, Leo ordered that Luther should be brought to Rome and executed, seeing him as a direct threat to the Roman Catholic Church. Leo’s quick change of thinking demonstrates how seriously the 95 Theses were taken by the papacy, insinuating that they were seen to be a serious challenge. Despite the intervention of Frederick the Wise, Leo still asked Catejan to arrest and make Luther recant at Augsburg. Leo took action against Frederick, even though he needed his vote for the imperial election, demonstrating the severity of the matter, and of the 95 Theses, as it had lead to the formation of Luther’s ideas that began to threaten the Church. Leo’s continued failed attempts to capture Luther lead to the papal bull Exsurge Domine, stating that the Church must protect itself from the ‘wild boar’ that threatened it. This action was taken, as forty-one of Luther’s views were deemed heretical and were seen to be a serious threat to the Church itself, the structure of the papacy, and the thoughts and beliefs of those within it. Very serious stuff.
On the flip side, some people thinking the Theses were not to be taken too seriously. Luther belonged to a conservative, middle class family. His mother in particular as deeply devout, and from a young age he was taught that God was the ultimate judge, and that prayer was a way of communicating with him. His mother Margarethe also taught him the importance of good deeds and the parables in the Bible. As he came from a deeply religious family, it can be argued that Luther would not want to the Church to change completely, but alter some aspects within it for the better. It can be argued that the main reason Luther was angry was due to Tetzel’s selling of Indulgences, and not so much the papacy. Luther also did not originally intend for the Church to be reformed. From his perspective, the Theses were intended to inspire debate and discussion at Wittenberg University. This shows that the 95 Theses were not a serious threat, purely as Luther claims that he did not intend them to be. The university was known to have theological debates, and generate new ideas, so the prospect of Luther wanting to incite one does not mean that the Theses were a threat in any way, as it could appear that he was participating in a perfectly normal practice. Perhaps if the Pope had halted the selling of Indulgences, Luther’s ideas would not have developed or spread. Luther also wrote the Theses in an enraged ad impassioned state, implying that he could have exaggerated his true feelings. Luther later stated that he did not expect the Theses to spread, and that he would have not written some things if he knew that they were going to. This erratic thinking could imply that he did not think about the Theses seriously, and that they were not intended to be taken seriously.
Despite Luther’s erratic feelings towards the Theses and his upbringing, the 95 Theses can be seen to be a serious challenge to the Church. Considering the reaction that Luther’s developing ideas prompted from the Church, it is hard not view the 95 These as a serious challenge to the Church.
Thanks for reading!
All information taken from:
 A. Grundy, Religion and state in early modern Europe, (London, Pearson Education, 2015).
‘The Monk’ is a pretty crazy book, it grabs you by the throat and does not let go. It is not afraid to tackle difficult topics, and covers murder, corruption and incest in its monastic setting. It was difficult to write this and choose one topic to focus on, but I do feel that the overriding themes of irony come from Ambrosio, and that the main message of the novel is that evil lurks around every corner, no matter how pious something may appear.
We are told, at the start, that ‘women came to show themselves, the men to see the women’ at church. Ok, this is not the reason to go to church. The idea of irony is established here, as everyone is pretending to be pious and virtuous when in fact, they have just gone to church to see who is around. Some, like Antonia, go to church for the right reasons. We know she is virtuous because of her ‘whiteness,’ a colour associated with purity and chastity. Antonia is here to see the famed monk Ambrosio.
Ambrosio is a fascinating figure in the novel. It seems rare that someone so pious can live in such a corrupt city. He embodies the irony of the church more than any other. He looks like a Gothic hero, ‘his nose was aquiline, his eyes large, black and sparkling.’ His glance is noted for being ‘fiery and penetrating.’ The darkness in him and the intensity of his glare emphasises his importance, and the use of the word ‘penetrating’ may well be a sexual reference, as we know that Ambrosio is struggling with his sexual desires and passions. His appearance is unique, and coupled with his murky past, the character has the ability to bewitch and entice. Ambrosio is held in high regard by all in the community, especially Antonia who is spellbound. Again, this emphasises the irony of the story, as he who is the most pure, will become the most corrupted. At this point he is doing an ok job at keeping his passions caged, but it does not last long.
Matilda facilitates Ambrosio’s fall. She manipulates him by showing him her breast, and threatening to kill herself if she is forced to leave the convent. When Ambrosio is literally stung by a serpent in the garden, it is clear that this is just a metaphor for Matilda. She becomes Eve, as well as the forbidden fruit in Ambrosio’s eyes. It’s ironic, as originally, we met Matilda when she was disguised as a man. She is Ambrosio’s confidante, and again, it is ironic that someone who is so close to Ambrosio is so determined to destroy him. This is where Ambrosio’s fall begins, as in a moment of weakness, he has sex with her. This one act sets Ambrosio on a dangerous path, as the prospect of breaking his vows does not seem that scandalous. He has already broken them once by having having sex with Matilda, so he is not that bothered if he does it again. Especially when he becomes obsessed with Antonia. Matilda in true femme fatale fashion, has led Ambrosio by hand into corruption and destruction.
Matilda again encourages Ambrosio to pursue Antonia, even concocting a plan that would allow Ambrosio access to her with or without her consent. It is pretty scary stuff, and also asks whether Ambrosio’s fall is his own fault. It is revealed in the ending pages of the novel that the entire affair was designed by the Devil, who sent a demon disguised as Matilda to corrupt Ambrosio, just for His own amusement. Perhaps Ambrosio would not have committed the acts that he did if the Devil had not interfered, and purposely tried to destroy him? It is an interesting idea, and raises questions about our own human nature. Ambrosio’s crimes are certainly inexcusable, but it is also made obvious that without Matilda’s help, Ambrosio would not have been able to do what he did. As a whole, the character represents the fall of mankind, and what happens when we give in to temptation. The novel, and character, warn the reader that there is evil in the world, and that we must be guarded against it. Good does not even win, as most characters die, especially those who are the most innocent, like Antonia and Elvira.
This makes the whole novel work as a Gothic story. The darkness of humanity is explored, as well as the ironies we represent, and all things that affect the characters are spearheaded by Ambrosio’s self serving nature. We see this in ‘The Castle of Otranto’ and ‘A Sicilian Romance.’ The male characters in these novels dominate all others, especially women. A classic example being Manfred’s murder of his own child, Matilda. This directly contradicts the place that the patriarch, or dominant male figure, should have in the family, the church or the world. Big irony here. The novels convoluted and sensationalised plot also aligns it with the original Gothic novels, and ensures that even now, it still makes for gripping and chilling reading. There is definitely more to unpack within the novel, so watch this space, there may be more Monk madness to follow.
Thanks for reading!
 Matthew Lewis, The Monk, (London: Alma Classics, 2019) p. 13.
After the American Civil War, and the abolition of slavery, America entered into a Reconstruction period, which was originally designed by Lincoln to improve the lives of former black American slaves. Andrew Johnson took over reforms upon Lincoln’s assassination on April 14th 1865, and following this Johnson and Ulysses Grant oversaw the remaining years of the Reconstruction period. Johnson’s ideas were different to that of Lincoln’s, and he granted the Confederate states a pardon, allowing them back into the Union. This led to conflict with the Radical Republicans in Congress, who had opposed slavery and believed that the South should be punished for their treatment of former black slaves. Johnson claimed that these Republicans were traitors, and the tension increased when Johnson vetoed two congressional proposals intended to help black people, the Freedman’s Bureau and Civil Rights Bill of 1866… but more on those later. It is difficult to definitively say that lives fully improved, or that lives did not improve at all in this specific period. Let us see what went on during this time.
In the early years of the Reconstruction period, black people suffered at the hands of the emergence of White Supremacy, in the form of the Ku Klux Klan. Established in 1865 in Pulaski, Tennesee, the clan sought to protect white people in the south, and claimed to uphold patriotism, chivalry, mercy and humanity. Ironic I know. Nathan Bedford Forrest, a former Confederate cavalry general, was elected Grand Wizard in 1867 in Nashville. The KKK justified the former arguments that allowed black people to be treated as inferior to whites, and claimed that black people were arsonists and murderers. They used violence against black people to stop them from voting, and had contact with Southern Democrat Politicians. The violence also extended to schools and churches, which were burned down in Alabama after the ratification of the Fifteenth Amendment in 1870. During the 1868 elections, 1300 voters were attacked and killed by the terror organisation. In the early 70’s three acts were passed in order to restrict the KKK and other white supremacist groups. The 1870 Enforcement Act placed penalties against anyone who interfered with a citizen, no matter what race. A Second Enforcement Act placed the election of congressman under the surveillance of elected officials. Most notably, the Ku Klux Klan Act of 1871 gave troops the power to arrest and habeus corpus suspected KKK members. This specifically can be seen to improve the lives of black Americans, as it restricted the activity of white supremacist groups, and allowed them to be brought before a judge or court. This development led to a decrease in white supremacist activity. From this perspective it would appear on paper that, Congress were attempting to improve the lives of black Americans. However, these facts probably do not speak to the individual experiences of black people.
There were several initiatives within the Reconstruction period that only temporarily improved the lives of black people. The Freedman’s Bureau, which, although initially vetoed by Johnson, was passed by Congress and established in 1865. The Bureau aimed to help free black people and poor white people, providing food, housing and medical aid, schooling and legal assistance. They also attempted to settle former slaves on confederate lands confiscated or abandoned during the war. The positive effects of the Bureau were short lived, due to the lack of funding and personnel. The Bureau even gave more money to white people than black people, and in 1872, Congress shut down the Bureau after white southerners refused to help former slaves. During the seven years that the Bureau was running, it did seek to improve the lives of black people for the better, giving them a basis on which they could build a new life, albeit for a short time.
Sharecropping has a similar story. Landowners divided large plantations of small farms of 30-50 acres under a rental agreement, which usually involved payment in half the crop produced on the land. Former black slaves received a farm and half a crop, which was better than the arrangement under slavery. This provided black people with a land of their own, and crop, which could provide them with a steady income, which provided them with a better arrangement than previously. During the economic depression of 1873, sharecropping was a more economic use of land, and by 1880, 80 percent of land in the cotton producing area of the USA was farmed by sharecroppers. However, this was short lived, as sharecropping did have negative aspects. As former slaves were poor, they often borrowed money at high interest to buy equipment and seed, which led to them giving some of their crop away to pay back their loans. This system forced those who could not pay into debt, and as many were illiterate, they had no other job prospects. There’s a conflict here, as there were positive effects for the short term, but in the long term, black people were tied to the land, and were in debt to landowners.
The Federal Government also tried to improve the lives of black people. The acts passed by Congress, known as the ‘Civil War Amendments’ were brought about in response to the use of Black Codes, which were laws passed by Democrat controlled Southern states in 1865 and 1866. These codes allowed black people to be treated as they had before the issuing of the 13th Amendment in 1865. The codes were introduced in the former confederate states, and discriminated against former slaves. In Mississippi, black people could not carry arms, liqueur and did not have the right to own property. These discriminatory views were restricted initially by the issuing of the 13th Amendment in January 1865. In January 1865 slavery became constitutionally abolished, which resulted in the liberation of 4 million slaves. Although this left black people, who had no money and education, in a precarious position, the amendment improved the lives of black people, by stating that not slavery ‘shall exist within the United States.’ As well as being freed, land was given to black people by ex-confederate states, providing them with their own property. Despite the initial situation that black people found themselves in after the passing of the amendment, their lives were greatly improved by the positive step of the abolition of slavery. As well as abolishing slavery, the amendment protected former slaves from it, claiming that Congress has ‘power to enforce’ the article by ‘appropriate legislation’ if broken.
In 1866 the Federal Government passed a Civil Rights Act. This act made all American citizens equal under the law, stating that they all should have the ‘same right(s).’ the Act also allowed black people the right to access to property, and allowed the Federal Government to override state legislature, if they attempted to block the Act.
The passing of the 14th Amendment further intended to improve the lives of black Americans during the years of Reconstruction. The 14th Amendment was a feature of Radical Reconstruction, and was passed in 1868. All former slaves were made citizens, and were made equal under the law. The Amendment also aimed to protect black people from former confederate states, stating that those which had participated in ‘rebellion’ against the Union, may not be allowed to vote. The 15th Amendment also, passed in 1869, granted black people the right to vote, and was seen as a triumph for Radical Republicans. On paper this improved the lives of black Americans, as they were given the legal right to vote. However, the struggle for the vote was far from over, as hindsight now tells us.
The Civil Rights Act of 1875 too sought to improve lives of former black slaves during the years of the Reconstruction. This particular act discussed and dealt with public accommodations, and noted that all citizens of the USA should be entitled to the full use of facilities such as inns, land, water or theatres. Section four of the Act also allows black people to become juries. As set forth in previous acts, states cannot prevent equality under the law, and the continuing authority of the Federal Government ensured discrimination was restricted against black people.
Black people also sought to better themselves during the period of Reconstruction. Most notably, many black churches and schools were set up, to ensure that black people had a proper education and had a chance to enter into a trade to earn income. This tackled the problem of illiteracy, which stopped black people from earning income, unless they were sharecroppers. This led to developments in black culture and identity, and provided black people with leaders and role models, such as Booker T. Washington, who was a priest in a black church. As a result of this, the KKK did target 50 black teachers, and destroyed 25 schools in response to the public schools act of 1870 in Mississippi, emphasising the importance of ways in which black people sought to better their own lives. From 1860 to 1880, black literacy increased from 70 to 90 percent, showing the improvement in the lives of black people, and the future opportunities that this will bring, allowing them to better themselves in the years after the Reconstruction.
It is difficult to staunchly come down on one side, and say that black American lives improved or did not improve during the Reconstruction period. On paper, from 1865-1877, one could argue that they did for a short time, and that steps were taken in order to facilitate this. However, white supremacy, the closure of the Freedman’s Bureau and the negative effects of sharecropping lead one to argue that their lives did not improve. And of course, after the Reconstruction, Jim Crow laws came into effect to dispel the legal rights that black people had been given during the Reconstruction, and for example, tried to prevent black people from voting. Maybe it is best to settle that the intent from Congress was there, and in the short term black people did benefit from the Freedman’s Bureau, sharecropping and education… but that maybe in the long term, it was not enough.
The title character of ‘Lady Susan’ would have been considered subversive in 1871, as she rejects traditional gender roles.
Lady Susan actively uses men for her own advancement. In response to Sir James’ overtures of marriage to Lady Susan’s daughter, Frederica, Lady Susan decides to ‘lay aside the scheme for the present.’ The word ‘present’ implies that she will return to this plan to marry the wealthy James Martin to Frederica. Lady Susan herself adopts the fatherly position in trying to find her daughter a suitor, noting that Sir James made ‘proposals to me’ for Frederica. Austen’s heroine Emma Woodhouse too brings people together but is not forceful like Lady Susan. This emphasises the subversive nature of Lady Susan as she actively seeks a partner for her daughter and subverts traditional gender roles. In this novel it is the women, not the men who influence the action.
Lady Susan’s daughter Frederica, in contrast, lives up to the expectations of women at Austen’s time, as she is virtuous and chaste. Catherine Vernon declares her to be ‘timid, dejected and penitent.’ She fulfils societal expectations, in her marriage to Reginald at the story’s end. Lady Susan expresses irritation towards her daughters’ countenance, declaring that she is the ‘greatest simpleton on Earth.’ Lady Susan clearly finds traditional ideas of femininity infuriating. Frederica is portrayed as ‘feminine’ by Simone de Beauvoir’s definition, as ‘weak, futile, docile.’ By deciding that Frederica epitomises the idea of femininity, one must recognise the subversive nature of Lady Susan as she openly rejects these ideals, and traditional gender roles.
This is demonstrated by her scandalous affair with Manwaring, despite being widowed ‘four months’ previously. This contradicts the assumption that all of Austen’s unmarried female characters were virgins. While Frederica goes to men for help, Lady Susan manipulates them for her gain. Serious Femme Fatale vibes here.
Lady Susan has been called an ‘unkind mother,’ and she sarcastically praises her ‘maternal affection.’ Lady Susan rejects her societal duty of motherhood to Frederica, and instead spurns her daughter throughout the novel, declaring that Frederica was born to ‘torment’ her life. Ann Oakley, in contrast, believes that ‘women’s position in the family is founded in their maternity.’ This aspect of the character could be an insight into Austen’s own views about society and may imply that the novel is a social satire. Austen could be excoriating the gender conventions of her time, by creating a heroine that flouts them, to a degree of success. Brassard concurs, noting that ‘Austen applauds her heroine’s pursuit of freedom and rewards her maternal indifference.’ The ‘reward’ could be referring to Lady Susan’s wealthy marriage to Sir James at the novel’s close, and therefore her success, as Brassard’s mentioning of this implies Austen’s support for her subversive heroine.
The epistolary form of the novel shows that the strong female relationships drive the plot. Lady Susan initially feels isolated by these relationships, noting that other women in the family are ‘united against’ her due to her disregard for social conventions, and inappropriate behaviour. Despite their domestic roles, the women of the novel are still ‘pragmatic and powerful,’ as Deborah Kaplan notes. Lady Susan’s power has already been noted through her ability to use men for her advancement. Her friend, Alicia, is privy to her private thoughts, and it is in these letters that Lady Susan’s character is truly explored. Lady Susan draws power from this relationship, as Alicia acts as her confidante and advisor. Lady Susan appears as a conventional woman to an extent, as she has female friends. However, this is hampered by the fact that some women in the novel still dislike her.
By writing letters, Lady Susan is able to freely express herself as her letters remain unchecked by men. Her discourse is different to that of the male characters, resulting in a distinct, female voice. In the eyes of Virginia Woolf, this is a positive step in the history of women’s writing, as previously, women could only express themselves using the ‘language of men.’ It is the deployment of her own voice, and the sense of strong female relationships that allows Lady Susan to subvert gender roles. Lady Susan’s use of the first person allows for clear characterisation, and the formation of a character that is multidimensional, as she discusses her feelings in the past, present and future.
The men in the novel are uninvolved in the machinations of the female characters, and therefore remain unaware of their schemes, rendering them powerless. Kaplan acknowledges the strength of ‘intense relationships with female correspondents,’ but despite this, she berates Lady Susan’s attempts to detach herself from gender conventions, as she still needs to marry to gain ‘property.’ Women did not own property in Austen’s time, and therefore their only access to it was through marriage. Kaplan is highlighting the fact that, despite Lady Susan’s cavalier attitudes, her interests sit firmly with all other women at the time, making her hardly extraordinary.
Despite this, Lady Susan’s scheming, poor treatment of her daughter and use of her own voice still make her standout against Austen’s other heroines, as the most scandalous, subversive, and also as one of the most captivating.
Thanks for reading!
 Jane Austen, Lady Susan, The Watsons, Sandition (New Edition, London, Penguin Classics, 1974), p. 4.
Gothic fiction primarily sought to be ‘anti-Enlightenment,’ and the antithesis of Christian, western ideas. It is mostly attributed to the Goths, a group of Germanic people who played a key role in the fall of Rome and the emergence of the Middle Ages. In literature, Gothic motifs and ideas are reflected in morality, architecture and character, just a name a few things. People debate whether ‘Jane Eyre’ falls on the Romantic side or the Gothic side, and in my view, there are definitely elements of both. For now, let us look at the Gothic.
Thornfield Hall screams Gothic, as its darkness and abnormality, in comparison to traditional British Victorian architecture is evident. Here are a few key words:
Well, Thornfield sounds like depression city. The long, winding corridors are a staple of Gothic fiction, as they hark to an inescapable fortress, echoing the haunted castles that can be seen in the early of Gothic novels, such as Walpole’s ‘The Castle of Otranto’ and Radcliffe’s ‘A Sicilian Romance.’ The whole of Thornfield is just quite large, and quite empty and devoid of life. The ornate galleries and staircases also echo the architecture of the Gothic castle, which also leads the reader to consider what Gothic creatures or figures reside inside it. The house represents more than just the Gothic home, but the Gothic realm in general. Jane notes this when she steps over the ‘threshold,’ as if into another territory. The coldness of the house show that it is devoid of love and warmth, which mirror Rochester’s personality. The presence of ‘battlements’ is pretty Gothic too, and paints Thornfield Hall as more of a castle or fortress than a stately home. It is trying to keep the outside world out, and the Gothic nature of it inside. The fact that Jane likens the whole house to some form of ‘stagnation’ is pretty revealing… and slightly insulting… The house is out of touch with the rest of the world, and is almost like the house that time has forgotten.
The Gothic figure that inhabits the halls of Thornfield is of course Bertha Mason. The woman is scary. We first get a glimpse of her when she tears Jane’s wedding veil, the night before Jane is set to marry Rochester. She appears as a ghost like figure that prophesises the failure of the marriage, and of course, it does not go ahead. I probably do not have to go into too much detail about how a ghost is Gothic, but again, it links to ideas that combat the rationalism that stemmed from the Enlightenment age. Jane is thoroughly frightened by Bertha, describing her as:
‘Fearful and ghastly to me – oh, sir, I never saw a face like it! It was a discoloured face – it was a savage face’
We later learn that Bertha was brought up in Jamaica, and that her mother too went mad. For more on that, see Jean Rhys’ novel ‘Wide Sargasso Sea,’ and one of my other articles linked in the footnotes. There’s some real racism here, and Bertha’s demeanour and description play to the idea that she is not civilised and westernised, like the rest of the Victorian characters. She therefore represents the ‘Other,’ which is a term that can broadly be applied to anything that opposes the norm. The colour of her skin and her nature does this, and aligns her Jamaican heritage with something that is monstrous and abnormal to characters such as Jane and Rochester. She is almost vampiric, especially when she attacks her brother with a knife, causing him to lose a great deal of blood. Critics argue that Bertha represents Jane’s alter ego, and together, they represent woman as a whole. Linking to ideas of race, Bertha’s incarceration speaks about imperialism, and how white people and countries would seek to control other territories with the intention of expansion. This really took off during Victoria’s reign.
‘… what it was, whether beast of human being, one could not, at first sight, tell: it grovelled, seemingly, on all fours; it snatched and growled like some strange wild animal: but it was covered with clothing, and a quantity of dark, grizzled hair, wild as a mane, hid its head and face.’
Not the kind of lady you want to meet on your wedding day. Bertha is described as animalistic and a savage, which again gives an insight into western views about people of different races and colour. Bertha is so nuts that she acts more like a ticked off lion than a human woman, which may be understandable as she has been shut away in Thornfield for several decades, with only a drunk attendant for company. The ability to shape shift is also a quality of the Gothic female, and by acting like an animal, Bertha does pull this off. By being Jane’s alter ego, Bertha basically represents the darkness within all people, and directly combats Jane’s capacity for good. This again is a classic Gothic theme, as the genre seeks to explore the inherent darkness within all humanity, and in this context, Bertha herself particularly focuses on madness. It is when we look at the character externally that more complex ideas of race and imperialism come into play, which, for Victorians, is akin to concepts such as the ‘Other,’ and this concept is at the heart of the Gothic in ‘Jane Eyre.’
Thanks for reading!
 Charlotte Brontë, Jane Eyre, (London: Penguin Classics, 2006) p. 116
Magna Carta was drawn up in 1215 with the intention of limiting the power of the crown and has since been used to defend individual liberties. It was used frequently with the intention of affecting religious change during the Tudor period.
Magna Carta was primarily used to aid the learning of young lawyers at the Inns of Court. Tutors, named ‘readers,’ would choose a clause, and use it to teach pupils through means of assessment and discussion. Magna Carta provided students with an inactive legal statute to study, as the Charter was not seen as a living constitution. Lawyers were taught at an early age that the king and governing classes should prioritise ‘matters concerning God and the Church,’ as described in a Reading dating back to the early 1530s. As lawyers were taught that the king should prioritise the Church above all else; they, as well as opposers to religious reform, were provided with a legitimate document that they could use to discredit religious change, in the form of Magna Carta. This explains why Magna Carta was used with the intention of affecting religious change throughout the Tudor period, in response to events like The Break with Rome.
The Break with Rome was prompted by Pope Clement VII’s refusal to grant Henry VIII a divorce from Catherine of Aragon so that he could marry Anne Boleyn. In response to this, Henry sought to obtain Royal Supremacy, which would grant him absolute power over church policy within England, thus allowing him to grant himself a divorce. Parliament had to pass a series of laws to facilitate The Break with Rome, which led to the formation of the Church of England. Churches which still had ties to the Roman Catholic Church were stripped of their land and value, their riches being added to the king’s coffers in an act known as the Dissolution of the Monasteries. The Dissolution led to outrage and encouraged people to cite the first clause of Magna Carta in attempts to affect the current religious changes.
The first clause stated that the ‘English Church shall be free and shall have all its rights undiminished and its liberties unimpaired.’ In 1532, the Archbishop of Canterbury, William Warham, wrote a speech opposing the proposed reforms to the churches in England, to be delivered to the House of Lords. He argued that the ‘liberties of the Church are guaranteed by Magna Charta,’ signalling a resurgence in peoples’ use of the document in attempts to affect religious change. Warham’s successor, Matthew Parker, too cited Magna Carta to defend the state church against the religious reforms.
Magna Carta was also cited by the fifty thousand people taking part in the Pilgrimage of Grace, a mass northern uprising led specifically to combat the ‘suppression’ of the churches. Leader Robert Aske specifically cited Magna Carta as the rioters’ ‘warrant for rebellion,’ as they argued that they were defending the freedoms of the church, which were outlined in Magna Carta. As well as citing Clause 1 of Magna Carta, Clause 29 was also referenced to ensure the liberty of the people, defending them from unlawful imprisonment. Clause 29 stated that ‘No man shall in future be arrested or imprisoned […] except by lawful judgment of his peers or by the law of the land.’ Despite the efforts of those above, the Dissolution of the Monasteries continued and the government quashed the Pilgrimage of Grace, executing Robert Aske in 1537.
Thomas More cited Magna Carta as a form of personal defence against the law. More was a conservative Catholic, who opposed The Break with Rome and Henry’s divorce. This prompted More to resign as chancellor in May 1532. The 1534 Act of Succession, demanded that everyone swear to the validity of Henry’s marriage to Anne, prioritising any of their children as legitimate heirs to the throne. More refused to comply, and in response was imprisoned. At his trial, More referenced Magna Carta, declaring that the indictment against him and the treatment of the church was ‘both contrary to the laws and statues of this our land yet unrepealed, as they might evidently perceive in Magna Charta.’ More used Magna Carta to justify his own religious beliefs, and his belief in the freedom of the church, both of which were being attacked by the proposed religious reforms. However, his citing of the document did not help to win his cause, as he was executed in 1535.
When she came to the throne in 1558, Henry and Anne’s daughter Elizabeth I inherited a divided England. Her predecessor, Mary I, had attempted to restore the Catholic faith and stamp out Protestantism by restoring England to the Roman Catholic Church. This led to the formation of an extremist Protestant faction, known as the Puritans, based in the heart of Elizabeth’s government, who tried to prioritise their own interests to the detriment of the remaining Catholics in England. Elizabeth proclaimed herself the Supreme Governor of the Church of England under her Act of Uniformity in 1559, breaking with the Roman Catholic Church as her father Henry did. Elizabeth’s religious settlement was less harsh than total Protestant uniformity, which discomforted the Puritans. Elizabeth appointed John Whitgift as Archbishop of Canterbury in 1583, who was tasked with dealing with those Puritans who opposed Elizabeth’s milder religious settlement.
Whitgift forced all suspected Puritans to take an ex officio oath, swearing to Elizabeth’s Act of Uniformity, and thus acknowledging Elizabeth’s milder religious settlement. To facilitate this, the Court of High Commission was created in 1559. The Court fined those suspected of heresy and incarcerated them without bail, powers which were not given to ordinary spiritual courts. In response to this, attorney James Morice used Magna Carta to defend Puritan sympathiser Robert Cawdry in 1591, declaring that there was an imbalance of equality between lay ecclesiastical jurisdiction, as the Court drew power from the crown, an unchecked power. Diplomat Robert Beale acted similarly in 1593, using Magna Carta to defend the Puritans while criticising Whitgift and the Court. Beale argued that the oath and the Court came into conflict with Clause 29 of Magna Carta, which stated that one could not be starved of their liberties without being judged by the law. Both Beale and Morice believed that the Court of High Commission should not be given the authority to ‘change or alter the lawes of this Realme,’ which were detailed in Magna Carta. Despite Beale and Morice’s protests, and attempts to use Magna Carta to ensure that the rights of the Puritans were not unlawfully encroached upon, they were ignored and the Court of High Commission continued to practice until 1641.
Magna Carta was frequently cited within the Tudor period with the intention of affecting religious change. However, its lack of success, evidenced by the failure of the Pilgrimage of Grace, More’s execution and the continuing practices of the Court of the High Commission, confirm that it was correctly viewed by those it was used to educate, as an in inactive document.
Thanks for reading!
 RV. Turner, Magna Carta Through the Ages (New York, 2003), p. 8.
 M. McGlynn, ‘From Charter to common law: the rights and liberties of the pre Reformation Church’ in Griffith-Jones, R. & Hill, M. (eds.), Magna Carta, Religion and the Rule of Law (Cambridge, 2015), p. 57.
Lucy and Mina are the two main female characters in the Gothic novel ‘Dracula,’ and both have very different roles. Mina is dark haired, Lucy is fair haired, Mina is the brains, Lucy is the progressive thinker, in terms of relationships and sex. Together they are ‘woman,’ and individually form two sides of the same coin. Both fall victim to Dracula, but for Lucy this is fatal. Before her death however, Lucy is described as a highly sexualised and voracious female vampire. She’s an example of the ‘sexy vampire’ trope, and becomes a creature that is antithetical to the idealized image of woman and mother.
We already know that Lucy is confronting Victorian sexual codes when the reader realises that she is universally desired. She has three suitors, in the forms of Quincey Morris, Arthur Holmwood and Dr John Seward. She confesses that if she could, she would marry all three, but settles for Arthur. This seems like innocent girl-talk with her best mate Mina, but to Victorian readers, Lucy saying that she wants to marry three men is basically the same thing as saying that she wants to have sex with the three men. For Victorians, this is hugely scandalous, and so from very early on in the book, everyone is under the impression that Lucy has an untapped sexual desire, waiting to break free. Cue Dracula.
Dracula basically rocks up, takes advantage and enhances Lucy’s tendency to sleep walk, and begins feeding from her. Mina notices that her friend is getting ill, and at this point, Van Helsing is called in. Long story short, she gets weaker and weaker, and receives blood transfusions from all three of her suitors. Dracula keeps draining her, creating a slightly nauseating flow of blood between the five of them. It’s worth noting that Victorians believed that, during sex, the couples’ blood would become intermingled. Based on this ridiculous fact, the Victorians would have believed that these five characters… well you can guess the rest. Lucy becomes increasingly ‘bloodless,’ and eventually dies.
Alarm bells ring early on though, in the run up to the funeral, Quincey, Arthur, Seward and Van Helsing notice that Lucy’s coffin is frequently empty. When she’s inside, however, and they do catch a glimpse of her, Seward notes that:
‘There lay Lucy, seemingly just as we had seen her the night before her funeral. She was, if possible, more radiantly beautiful than ever; and I could not believe that she was dead. The lips were red, nay redder than before; and on the cheeks was a delicate bloom.’
So… Lucy looks better dead than alive? Strange. She’s highly sexualised and basically becomes the perfect example of Victorian female beauty in her death. Her lips are red, her skin pale, her cheeks rosy. Serious Snow White vibes here. She’s also laid to rest in her coffin in her wedding dress. White obviously signifies purity, and the contrast of this with the red of her lips is an obvious reference to the Madonna-Whore complex. Lucy also becomes a tad more demanding in death, commanding Arthur:
‘Come to me, Arthur. Leave these others and come to me. My arms are hungry for you. Come, and we can rest together. Come, my husband, come!’
Lucy has all of the men’s blood inside her, so all men respond to her call. She’s less innocent here and has more agency when acting on her sexual desires. Her sexual desires are heightened in her vampiric state. She tries to be a femme fatale here, but it doesn’t quite work as Arthur, although tempted, doesn’t submit. Lucy’s actions and character here play to the dichotomies of pain and pleasure, danger and attraction. Stoker does a good job of encapsulating all of these big ideas into one character, making sure the reader knows that Lucy is not one set ‘thing.’
Stoker then goes on to add the ‘anti-mother’ to the list. Back in the day, women were expected to be subservient, and bear children. Lucy directly subverts the ideal of the perfect mother, as she is seen to be feeding off the blood of a ‘fair-haired’ child. Lucy’s ‘sweetness was turned to adamantine, heartless cruelty, and the purity to voluptuous wantonness.’ Again Stoker notes Lucy’s new, overt sexuality here, but the ‘heartless cruelty’ here is worth noting. She’s carrying a baby and drinking its blood. That’s not something mothers do. Carolyn Dever argues that mothers in the Gothic narrative are ‘constructed as an emblem of safety.’ In this case, Lucy isn’t. Usually mothers protect their children in the Gothic novel from other forces that would harm them, but Lucy’s not quite up for that. She is the force that harms the child.
Her death climaxes a lot of these themes, especially that of her sexuality. The driving of a stake through her heart by her beloved Arthur works as some kind of strange, sexual release. The blood that spurts from her body is a reference to Arthur taking her virginity. But, as she is not conscious when he drives the stake in, it’s also a reference to rape. Lucy’s death acts as a punishment for her, by Victorian standards, unnatural sexual desires. In this weird, sex act Lucy’s soul is saved as she is no longer a vampire. Lucy’s portrayal in ‘Bram Stoker’s Dracula,’ 1992, by Sadie Frost is probably the most iconic and accurate to the book.
And that’s pretty much it for Lucy. Here lies a thoroughly modern woman gone too soon, punished and criticised by the Victorian sexual codes and patriarchal society that she found herself stuck in. Lucy dies about halfway through the novel, so even though she isn’t around for long, she is important. Her death spurs on the others, particularly Mina, to hunt Dracula down and kill him.
Henry VIII and Donald Trump are probably two of the most famous men in history… but don’t tell them that or we’ll never hear the end of it. On the surface, I didn’t think they would have much in common, but there was more there than I thought.
Both are second sons, so were not intended to inherit their father’s empire. Henry’s older brother Arthur died, as did Trump’s. Trump’s brother, Fred Jr, died of alcoholism, leaving Trump to take over the family business. Both men ascended to positions of power at a young age, and spent a lot of money that their fathers had saved for them. Both use this money to build their own personal empire, deploying the ancient art of propaganda.
Personality and Propaganda
Henry commissioned a painting by Holbein, featuring himself, his mother and father, and Jane Seymour. In contrast to his son, Henry VII looks weak and feeble, and is seen leaning on a pillar. Henry wants to be better than his father and uses artistic propaganda to perpetuate this image. Written on the pillar on which Henry VII leans, the text is inscribed: ‘the son was born to a greater dynasty.’ Henry spent more money on lavish jousting tournaments and builds 60 palaces just because he could.
Trump’s version of this, is to become the president of his father’s, Fred Trump’s, construction empire. Trump bought a lot of property, and to build his own personal brand, stamped his name all over it. Trump opens a gaming industry, casinos, naming one ‘Trump’s Castle.’ He clearly thinks he’s the King. He then opened Trump tower in 1983. Basically, the modern equivalent of lots of paintings, right? There’s a degree of showmanship on both sides here.
Advisors and Governing
Trump and Henry also had the ability to make and break their advisors. Henry had Wolsey and Cromwell, and initially, Trump had Roy Cohn, who was feared throughout Manhattan. In both incidences, both Trump and Henry made their advisors and gave them a degree of power. This means that Wolsey, Cromwell and Roy Cohn all completely depended on those that they served, and if they should cross them… well two out of the three ended up losing their heads. Steven Bannon masterminded Trump’s campaign, and I don’t know about you, but I haven’t seen him anywhere near Trump recently, as he was fired. Henry himself was responsible for 300 executions, and both Henry and Trump appear to govern by fear. Trump has his finger on the ‘nuclear’ button, Henry could cut off heads. Trump noted that his administration was ‘different,’ and warned people not to ‘underestimate’ him, or they will be met with ‘fire and fury.’ Scary stuff. Dominic Sandbrook argues that both Henry and Trump have encouraged a hyper nationalism, ensuring that those who they govern are focused on their country and their country alone, we see this in Trump’s slogan ‘Make America Great Again.’
Trump and Henry both have had tumultuous relationships with women. Both men also don’t like to be upstaged by their wives either. Catherine of Aragon and Henry married in 1509, and had a happy marriage. She even used to sew his shirts by hand. On one occasion, while Henry is away, Catherine fends of a Scottish invasion, noting that the battle was ‘worth more than anything you could achieve in France.’ Catherine’s success outshone Henry’s in France, which probably did not go down well. 500 years later, Trump fell for Ivana Zelnickova, who he later left her in charge with refurbishing and relaunching the Plaza Hotel. Judging by the video footage, Trump is there as an accessory at the opening party, and he doesn’t exactly look happy. With Ivana at the fore, perhaps Trump also felt upstaged.
Both men would go through some messy divorces. Henry cast Catherine of Aragon aside in favour of Anne Boleyn, and formally separated from the Roman Catholic Church in order to marry her. This was a very public divorce battle, with Catherine of Aragon, at one point, openly storming out of the divorce court. Trump follows suit by having a very public affair with Marla Maples, which leads to a messy divorce battle with Ivana. Both of these don’t last though, as Anne’s marriage with Henry sours after a riding accident in 1536, which leaves him cantankerous and lacking mobility. Henry’s lack of activity makes him pile on the pounds, eating 5000 calories a day. Anne’s three miscarriages exacerbated the already strained relationship between the pair. All of this culminates in Anne’s execution, in May 1536, which was carefully crafted by Henry’s advisor Thomas Cromwell. Trump and Mala’s relationship also deteriorated, when the papers reported that the pair were regularly have fierce arguments, partly because of Trump’s unhealthy lifestyle. They divorced in 1991.
Mid Life Crisis?
Both men later married younger women, which Matt Frei identifies as a way to rejuvenate themselves. Henry marriages teenager Catherine Howard in 1540, and Trump married Melania, who was 24 years his junior, in 2005.
Campaigning, Fake News and Personal Politics
You wouldn’t think it, but Henry has also had a brush with the old fake news. The printing press was a relatively new invention in Tudor England, and Henry used it to launch and aid his break from Rome. However, he gained some bad press about the war with Scotland, with sources citing that there were mass killings of women and children. Henry fought pamphlet with pamphlet, and went around sticking signs on the inflammatory pamphlets, stating that they were fables… in other words… fake news. Joanne Paul notes that we are told to believe that only those in power hold the truth. Matt Frei argues that Trump’s use of Twitter allows him to communicate directly with the electorate. Both Henry and Trump ensured that politics became personal, and that their own image was at the forefront. Referring back to ‘Personality and Propaganda’…
Matt Frei notes that Trump is a germaphobe, and its well documented that Henry would cook up all kinds of remedies to combat diseases like the Sweating Sickness. Suzannah Lipscomb goes further, calling Henry a hypochondriac.
Women and Violence
Both men have not treated women well. For Henry, this mainly concerns his advocation of beheading his wives, including 17 year old Catherine Howard. In terms of Trump, rumours about sexual misconduct were, and are, rife. In 2015, videos filmed in 2005 of him speaking about sexually molesting women came to light, and since he has come to office, 20 women have come forward to report sexual assault. He denied all claims. Ivana, Trump’s first wife, reported that he raped her at trump tower, although she later said she did not mean rape in the literal sense. Whatever she meant, Henry and Trump’s behaviour to women is and was unacceptable.
Next in line?
From a young age, Henry and Anne Boleyn’s daughter Elizabeth learnt what it meant to grow up in an unstable political climate. Her arrest at a young age, at the hands of her sister Mary I, made her realise the dangers of ruling, as Mary suspected that Elizabeth was part of a political uprising to overthrow her. Matt Frei sees Ivanka Trump in the same way, arguing that Trump is preparing her to take over the family dynasty. She is always at his side, is his senior advisor and is her own independent businesswoman. Perhaps like their fathers, Elizabeth and Ivanka have some things in common?
They may have these similarities, but will Trump have the same legacy as Henry VIII? Only time will tell.
D. H. Lawrence’s semi auto-biographical novel ‘Sons and Lovers’ is very complex, so much so that part of me thinks I need to read it again. The story revolves around Paul Morel, and his relationships with three women, his mother, Miriam Leivers and Clara Dawes. All three are different, all three impact the others. Paul loves them all in different ways, even though sometimes between them can cross and blur. Lawrence’s writing at times is so subtle that it’s tricky to keep track of what Paul is thinking. Other times it is clear but it chops and changes so much that it’s just as difficult. Each woman acts as a sort of stimuli to a part of Paul’s character, propelling him to discover more about himself, his sexuality and ultimately, love.
It’s funny that, originally, Paul’s mother Gertrude always preferred her older son William. However, when William pops his clogs, she moves on to favour Paul. Paul’s closeness with his mother impacts his relationship with Miriam, his first long term girlfriend. Gertrude’s dislike of Miriam makes Paul dislike her in turn, showing Gertrude’s influence over her child. It’s Gertrude’s jealousy that breaks Miriam and Paul up, which gives us real Oedipus vibes. Freud developed the Oedipus Complex based on the Greek tale of Oedipus, and it basically refers to a child having sexual desire towards the parent. Paul and Gertrude’s relationship does link to this idea, as he sometimes to Miriam as ‘another mother,’ when he does break up with her. Hashtag, weird. His breaking up with Miriam shows that he wants to get away from his mother, as he compares the two, but also doesn’t want to upset his mother further by staying with Miriam. Even Paul is subconsciously conflicted about his relationship with his mother, and the love he bears her.
The title ‘Sons and Lovers,’ is equally strange as it’s not fully clear. Are the words two separate ones, for two separate groups? Or is it saying that the sons are lovers? This may not seem that strange because Paul is lover to both Miriam and Clara… but could we throw his mum into the mix? He is Gertrude’s son; is it implied that he is her lover too? Does Paul operate on both levels? Let’s dial down on the weirdness…
On to Paul’s first love, Miriam Leivers. Miriam is the conservative and spiritual type, believing that everyone should be the same. She’s complicated, but essentially hers and Paul’s relationship is one of intellect and one of the mind. Her aversion to sex and physical contact does drive a wedge between them. Paul even questions that their desire to keep purity between them is ‘fierce,’ and that perhaps this is unnecessary. Paul does convince Miriam to have sex with him, even though she confesses that she is ‘afraid’ of it. She gives her virginity to Paul not for herself but for him. She treats it as a ‘sacrifice’ so that Paul can have pleasure. She redefines sex in her mind, by saying that it’s just the concentration and peak of emotion, which she attaches some divinity to. So even though they are physically intimate with each other, Paul and Miriam treat sex very differently. Although physical contact distresses Miriam, she feels that Paul will always come back to her, as together they form some kind of intellectual super couple. They bring out the best in each other intellectually, so she believes that Paul will always belong to her. Paul says that he feels ‘naked’ before her, as he literally lays his soul bare to her. In a way it’s the purest love out there, unaffected by sexual desire. They love each other for their minds, and personalities. But Paul discovered that this type of love was not enough for him. Even though Paul recognises that his soul will always belong to Miriam, the question of his body is left unanswered… until the entrance of Clara Dawes.
Clara Dawes is a modern woman, and she carries some real feminist ideas. She’s a Suffragette for starters. She’s also married when she starts an affair with Paul, which is quite scandalous. She provides a kind of excitement that Miriam didn’t, and Paul becomes attracted to her very quickly, and very soon after he leaves Miriam. In fact, Miriam introduced them. Harsh, Paul. Clara and Paul have an intense physical relationship, even though intellectually, there’s not much common ground there. See where Lawrence is going with this? Later on in the novel, even when the two have sex, it’s just not that great because Clara doesn’t feel Paul has fully committed to her, but Miriam is still on Paul’s mind. Paul’s indecisiveness rightly bugs Clara, and eventually pushes her to reconcile with her husband Baxter, leaving Paul all on his lonesome. It’s heavily implied that this will happen, as Clara doesn’t feel that her and Paul will last. She also feels that Baxter, belongs to her, and that this tie can’t be severed. She also feels guilty about how she treated him, even though he cheated on her. He does emotionally mature though, with Paul’s help. Paul was just a bit of a distraction for Clara, until she realised that she wanted something more permanent, prompting her U-turn back to Baxter. Perhaps Laurence is implying that Paul needs a woman who has both the intellectual qualities of Miriam, and the sexual appeal of Clara…?
Paul spends half of the time being confused, and only manages to find his definition of love 400 pages in, saying that love basically means ‘freedom.’ Maybe Paul gets the freedom fully when his mother dies. I say dies… but Paul and his sister Annie euthanise her… without her consent. The two of them see that their mother is in pain, crush up all her pills and feed them to her in a glass of milk. There’s a weird kind of inversion here, as usually it’s the mother feeding her child milk, to get her child healthy and strong. Here, we see the child feeding his mother milk, but using it poison her. It’s all very strange. Paul contemplates suicide after this, but overcomes it, deciding to return to the town, to begin the next chapter of his life. Maybe without his mother, Miriam and Clara Paul can finally be free? Maybe he’s learnt enough about women to get it right next time.
Thanks for reading!
 D. H. Lawrence, Sons and Lovers (Oxford, Oxford World Classics, 2009), p. 335.
The Victorians really would’ve loved all the crime channels we have nowadays. It was in this era that the thirst for all things crime really took off, and newspaper companies noticed this in their sales. Papers would see spikes in sales when reporting high profile crimes, which was bolstered by people’s belief in the Criminal Class, a group of people who were predisposed to committing crimes due to their social standing. As well as being some of the first people in the country to truly love their real-life crime thrillers, there were plenty of other firsts for crime in the Victorian era.
The First Railway Murder
“This train will be stopping at Fenchurch, MURDER and Chalk Farm…”
People became much more suspicious of trains as the century progressed, with some women so fearful of them that they put pins in their mouths to halt unwanted advances. I’ve never seen a woman do that on the Met line. People went truly nuts over the murder of 69-year-old Thomas Briggs, the first man to be killed on a train. He was found on the 9th of July 1864, on the embankment next to the train lines. Briggs died several hours later of his injuries. Suspicions fell on German born Franz Muller, after he was caught trying to flog Briggs’ watch and chain. After stealing them from Briggs, Muller had thrown him out of the compartment. The authorities chased Muller to New York, and for the crime he was hanged on the 14th of November, in front of 50,000 people. He protested his innocence until his last moment, saying on the scaffold: ‘I did it.’ The public reaction resulted in the creation of the communication cord on trains, which was a hotline from the passengers to the railway crew. This was required by the Regulation of Railways Act 1868. Railway carriages with side corridors followed, which allowed passengers to move from their compartments while the train was moving.
Britain’s Most Prolific Serial Killer? A Baby Farmer
At aged 33 Amelia Dyer took to baby farming to support herself. She took illegitimate and unwanted children into her care, for a small fee. At first, she let them die of natural causes, but later she began to murder them, usually by strangulation. She did this for about 30 years, taking on new children under different names, ensuring she got paid in full before the children died. Creepily, she later stated that she ‘used to like to watch them with the tape around their neck, but it was soon all over with them.’ What a psycho. The discovery of the corpse of six-year-old Doris Marmon, found in a box in the Thames, led the police to Amelia’s door. She was arrested in 1896, 27 years after she became a baby farmer. She was hanged on the 10th of June for the murder of 200 to 400 children, six of which were confirmed. This makes her one of Britain’s most prolific serial killers, and one that shocked nation. She was known as the ‘Ogress of Reading’… which I think is deserved. Some even speculated that she was Jack the Ripper… but that guy deserves his own post.
The Brides in the Bath Murders – Forensic Fastidiousness
This hellish set of events takes us from the Victorian to the Edwardian era. George Joseph Smith was a serial bigamist and had seven bigamous marriages under several names between 1908 and 1914 as he was constantly short on funds. He killed six of his wives in total, all of which had died in especially strange circumstances. They had allegedly had a fit and drowned in the bath. Several coincidences about the circumstances of the deaths caught the attention of forensic pathologist Bernard Spilsbury. A lot if Spilsbury’s case rested on Bessie Mundy’s unusual grip on a bar of soap, which she maintained even in death. He also noted the goose bumps on her legs, a sure sign of drowning. He took the measurements of the recent victims and the bath they drowned in and used medical knowledge about epilepsy to try and suss out the case. When looking at another victim, Bessie Williams, Spilsbury concluded that the stiffening of the body, caused by a fit, would’ve pushed Williams’ head above water. Spilsbury brought in several female divers to test the theory, which confirmed that the tub was too small for the victims to drown in in this way. Spilsbury conducted his own experiment, and without warning, grabbed one of the divers’ legs and pulled her under water. It took half an hour to revive her, and when she awoke, all she could remember was a cold rush of water. That was Spilbury’s theory confirmed. George Joseph Smith himself had brought the bath as a wedding present for each wife, then promptly returned it after he had murdered said wife in it. It was probably the first time that police detection in a case of multiple murders and forensic investigation had come together to secure a conviction. After this, people hailed Spilsbury as the real Sherlock Holmes.
Luckily horror stories like this didn’t last too much longer, as Robert Peel’s police force, formed in 1829, became more efficient and disciplined. Society itself became less violent, and even though crime did decrease in the latter half of the century, the Victorians themselves still loved and lapped up the drama.
Thanks for reading!
 All information taken from BBC History Magazine:
R. Crone, ‘Was Victorian Life Really So Grim?’ The Story of the Victorians, 2019.
 All information taken from BBC History Magazine:
C. Bloom, ‘Crime Scandals,’ The Story of the Victorians, 2019.
 All information taken from BBC History Magazine:
R. Crone, ‘Was Victorian Life Really So Grim?’ The Story of the Victorians, 2019.
Lydia Gwilt is the standout character of Wilkie Collins’s ‘Armadale,’ so much so that her wicked ways horrified Victorian readers. It’s no surprise given her status in the story as a liar, bigamist, husband poisoner and temptress. She was truly the antithesis of the demure, domestic and good-natured Victorian woman. I mean, in her first appearance she notes that she does ‘hate’ women… which is strange enough as usually, women club together and support each other in bonds of sisterhood. Lydia’s having none of it.
We know Lydia is antithetical to the desired Victorian woman by her physical appearance as well as her character. Ozias Midwinter is horrified by her hair, noting that ‘It was red.’ This short sentence emphasises the drama of the revelation, which is also signposted by the italics. The modern reader will probably think why? What’s wrong with a redhead? Unfortunately, Victorians associated red locks with female villainy. It’s interesting that Collins wanted John Everett Millais to illustrate the novel, as he was an important member of the Pre Raphaelite brotherhood. This revolutionary group, established in 1848, were known for their detailed, intensely coloured work. Majority of their paintings featured red haired, beautiful women, with intricate and dynamic features. They recycled their life models, so majority of the paintings bear resemblance to the others. A lot of the women depicted in the paintings with red hair, are associated with dangerous or immoral women, such as Ophelia from Hamlet, or Lilith. Collins portrays Lydia in the same vein in the text, and it seems he wanted to in the illustrations. That’s probably why Penguin Classics slapped ‘Madeleine Undressing,’ by John Everett Millais on the front cover. It’s also the header for this article. Even though the figure in the painting isn’t Lydia Gwilt, to me, that’s how Collins wanted her to look, and that’s how I imagine her.
The story of the novel is complex, and Lydia’s plans drive the plot. I don’t want to go into too much detail, but in short, there are two Allan Armadale’s. In the novel, one of them is known as Allan Armadale, the other as Ozias Midwinter. Ozias’ father killed Allan’s father, as the latter stole his proposed bride. Allan’s father did this, as his father before him, gave Allan’s fortune to Ozias’ father. Still with me? Lydia helped Allan’s father steal Ozias fathers’ proposed bride. Her plan? Marry Allan Armadale and get some of his fortune. This falls through. Her new plan? Marry Ozias Midwinter, whose real name is also Allan Armadale, somehow bump off the other Allan Armadale, and pose as his widow, cashing in in the process. Ok, breathe. Murder and deceit? Classic femme fatale tactics.
Lydia’s true nature is exposed when she successfully ensnares Ozias Midwinter after her first plan falls through. In desperation, she sycophantically simpers over Ozias Midwinter and plays the victim in true femme fatale fashion. He notes the ‘magnetic influence of her touch,’ and like a true femme fatale, she uses her femininity and sexuality to lure him in. Collins describes Lydia’s antics as ‘sexual sorcery,’ implying that Lydia’s witch-like power is drawn from her sexual appeal and femininity. Collins is telling us that beauty, when used, can be dangerous, and that men are susceptible enough to fall for it. According to Collins, men love a woman in need, and Ozias ‘yielded’ to her charms, proposing marriage, which she later accepts. However when he leaves, the ‘colour faded out of her cheeks; the beauty died out of her eyes; her face hardened horribly with a silent despair.’ This is the real Lydia Gwilt. She is at her most beautiful when she is at her most devious. This subverts traditional ideas of beauty and femininity, and shows a massive contradiction in her character and appearance. Lydia’s true features are worn, hardened and devoid of life, much like her soul.
But is it? Lydia is a complex figure, and perhaps isn’t quite a clear-cut femme fatale, I mean, their known for being morally ambiguous. Considering her part in the plot, between Ozias and Allan’s fathers, is she deserving of a cut of the money? To be honest, it looks like she willingly helped Allan’s father, but her life was pretty rubbish after that. We don’t learn about her backstory until much later into the novel, so the mystery surrounding her is maintained for majority of it. This is also a classic femme fatale trope. Lydia’s first husband suspected her of stealing and whacked her with a horsewhip, then her second husband Manuel spent all her money and then ran off. This does haunt her for the remainder of the novel, especially when Manuel rocks up again, asking her for more money. It’s abnormal for her to have a man love her, truly, and Ozias Midwinter appears to fill that void in her life. She thinks him stupid at first, and pities his affections, as she never expected anyone to genuinely care for her. She slowly comes round to him and falls for him. Although she is the novel’s main villainess, Collins does try to imply there is more to her, in trying to explain her motivations. She’s been abandoned, discarded and used by men surrounding her, so is it fair that she wants a slice of the action?
Her ending is somewhat tragic. She poses as a patient in a Sanitorium and lures Allan Armadale and Ozias Midwinter to her. For their stay Lydia places Allan Armadale in room four, and Ozias Midwinter in room three. She rigs room four, planning to flood it with poisonous gas, and in true Lydia fashion hisses ‘I shall be your widow […] in half-an-hour!’ through the door. It’s interesting that the Sanitorium is one that seeks to cure feminine hysteria. Lydia’s fate is hinted at here, as she’s trusting an establishment that, in the real world, would seek to silence her. The idea of feminine hysteria belittled women in general throughout history, as their genuine mental health issues were dismissed as just another weakness of the female sex. Feminists in the 80’s described it as an agent of female oppression. This does not bode well for Lydia.
Lydia’s pretty scary for readers because of the idea of the domestic poisoner. Lydia’s story takes inspiration from several high profile female killers at the time, whose cases scandalised and scared Victorian society. Female domestic poisoners were particularly feared as they had access to all areas of the home. The evidence of poison is pretty easy to dispose of, it’s not like a bloody knife. The fact that a woman could so easily get into the home and exact some monstrosity was even more terrifying than your average serial killer. Again, this type of woman is antithetical to the ideal Victorian woman. Collins tried hard to make people like Lydia, but, to please the masses, there was only one way her story could end.
Allan Armadale and Ozias Midwinter swap rooms, meaning that Ozias Midwinter is the one set to meet his maker. Lydia realises the mix up, pulls Midwinter out, and manages to save him. Feeling guilty, and seeking ‘atonement,’ Lydia shuts herself in room four and dies. So, does being in the Sanitorium cure her? I mean, she repents right? ‘Even my wickedness has one merit – it has not prospered. I have never been a happy woman,’ she says. Collins kind of has to kill her and make her repent to satisfy the Victorian masses, who don’t want to see Lydia win. If Lydia wins, evil is triumphing over good. And the Victorians aren’t down for that. In a way I see where they’re coming from, especially with Lydia, as throughout the majority of the novel she is evil and unforgiving. So, should she win? Really? Having said that, I was sad to see her go, and upon the event of her death even Collins was ‘upset.’ Despite this, throughout the novel she runs rings around majority of the men and maintains this control even in death, in true, iconic Lydia fashion.
Side note, she also dies on page 666… freaky coincidence.
Thanks for reading!
 Wilkie Collins, Armadale (London, Penguin Classics, 1995), p. 162.
Napoleon was initially successful in his European campaign, which spanned from 1803 to 1815, but this changed for the worse overtime. It was Napoleon’s own poor decision making that led to the depletion of the Grand Armée over time, which allowed the Coalition to eventually defeat him at the Battle of Waterloo in 1815.
Napoleon turned France into an aggressive military power, by mobilising majority of the population, beginning in 1791. At this point revolutionary France had an army of 200,000 men. Napoleon ensured that newcomers learned the traditional methods of warfare, which maintained a high level of discipline and order within the army. He also ordered that his armies march in columns, allowing them to advance further on the battlefield and attack the enemy with close range musket fire, causing greater devastation. These new tactics allowed him to initially exact continuous victories upon his enemies.
However, this didn’t last. Napoleon’s constant refusals of peace caused his forces to deplete further. Austrian diplomat Klemens von Metternich wished to negotiate peace between Russia and France, through the Armistice of Plaswitz, 1813. The Coalition wanted Napoleon to agree to strict terms, which included evacuating the French army from Germany and Italy, and giving up the Grand Duchy of Warsaw. Napoleon refused peace, thus prolonging the wars which would continue to drain his supplies. Metternich was aware that if peace was not negotiated, it would be ‘too late.’ Napoleon’s arguments with Metternich and refusal to attend peace conferences led to a series of bipartisan agreements signed at Teplitz on the 9th of September 1813 by the Coalition. This cemented an alliance between Russia, Austria and Prussia, which directly threatened France. If peace had been negotiated, the Coalition would not have united against Napoleon, and Waterloo might have been avoided. By continuing to facilitate war, Napoleon allowed the supplies of his army to further deplete.
Napoleon’s errors in military leadership also contributed to the depletion of the French army. An example of this can be seen when looking at the Battle of Borodino, in September 1812. Napoleon advised his army to attack the Russian forces in a full frontal assault, instead of enveloping them. This led to massive French casualties, as they were gunned down by musket fire. Napoleon also decided not to employ the Imperial Guard, a force totalling 18,000 men, which may have swung the result of the battle in his favour. This poor strategy, coupled with Napoleon’s refusal to make peace with the Coalition, prompted historian Charles Esdaile to argue that Napoleon betrayed France. Similar mistakes were made at the Battle of Leipzeig, in October 1813. Towards the end of the battle, the inaction of the Coalition allowed the majority of Napoleon’s forces to escape the battlefield. However, due to miscommunication amongst the French forces, the causeway that the French used to escape the battlefield was destroyed, resulting in 30,000 deaths. This figure added to the 38,000 causalities that the French had suffered over the three day course of the battle.
The size of the Grande Armée was also an issue, as it could not move quickly enough to encircle an enemy, and Napoleon found the huge force difficult to control. ‘Total war’ refers to warfare that includes all the population and resources of a nation, which Napoleon adhered to by mobilising the entire population of France in the 1790s. David Bell notes that although Napoleon initially made use of the army to wage total war in Europe, he eventually became a victim of total warfare himself. French General Antoine-Henri Jomini too concurred that the size of the Grande Armée became increasingly problematic, advocating smaller sized armies as they were easier to manage.
The size of the Grande Armée led to conflict amongst the generals, as the French high command found themselves disagreeing about how to best deploy the huge force. This lack of cooperation acted as a detrimental factor to the French forces, in contrast to the unity of the Coalition. Before his abdication, in 1814, Napoleon was stationed at Fontainebleau with 60,000 men. Napoleon planned to fight the Coalition, bargaining on a military victory, but his commanders refused to comply and ordered him to abdicate. Napoleon lost support from his generals and commanders due to his previous poor tactics in battle, as well as his inability to negotiate peace with the Coalition. Jacques MacDonald, one of Napoleon’s commanders, staunchly refused Napoleon’s orders, declaring that the French nation was ‘determined to make an end’ of the war with the Coalition.
Napoleon’s ill-fated invasion of Russia just made things worse. Before the Battle of Borodino, Napoleon had already lost supplies due thunderstorms and blizzards, depleting his army before the battle took place. Imperial Guard member Captain Coignet noted that the weather caused a loss in supplies, as the ‘ground was covered with horses frozen to death.’ Further supplies were lost due to dysentery, and 10,000 horses died due to malnourishment. Twenty-four year old infantryman Jakob Walter noted that the army was reduced to eating ‘uncooked’ horsemeat. At Borodino, Napoleon prepared to fight against Russia’s 121,000 men, with his 130,000. The French and Russians lost 30,000 and 40,000 men respectively. Although neither side can declare victory in such a situation it is conceivable to think that if Napoleon had not lost so many supplies on the way to Borodino, he would have had a greater chance of winning the battle due to his strength in numbers.
The Coalition, in contrast got stronger, and developed their own tactics to combat Napoleon, and also sought to replicate Napoleon’s in order to defeat him. Upon the French advance into Moscow, the Russians adopted the tactic of ‘scorched earth,’ and set Moscow alight. This exacerbated the precarious position of Napoleon following the Battle of Borodino and cost him even more supplies. Napoleon instructed his troops to ‘live off the land,’ so they survived on the resources of the towns that they plundered. In order to combat this, Russian agents set Moscow alight, reducing the city ‘to ashes.’ Russian general Kutuzov then cut the French columns in two repeatedly, inflicting major deaths upon the retreating French army. Due to the lack of food and cohesion of the French forces, Russia was able to exact victories over the French, by attacking them on all sides in November. The French were forced to flee, leaving valuables such as guns behind. Napoleon escaped Russia with 20,000, as opposed to the 130,000 which he led into battle at Borodino.  French losses amounted to half a million, which could have been prevented if the French army was well supplied and did not need to rely on the land to live.  In response to Napoleon’s failed invasion of Russia, the Coalition adopted Napoleon’s tactic of conscription.
Despite each nations’ own personal aims, the Coalition agreed on March 1st 1814 that their universal goal was to defeat Napoleon. This demonstrates the cooperation of the Coalition, as nations were willing to put their own priorities aside and prioritise dealing with the threat. This cooperation can be seen at Waterloo. During the climax of the battle, Wellington’s troops were reinforced by two Prussian corps, led by Gebhard Leberecht von Blucher. This combined strength overpowered Napoleon, and what was left of his army.
It seems that Napoleon tried to reach too far, as his own ambition, and refusal to desist caused his army to get smaller and smaller, leading to his eventual defeat at Waterloo.
Thanks for reading!
 M. Broers, ‘Changes in War: The French Revolutionary and Napoleonic Wars’ in H. Strachan and S. Scheipers (eds.), The Changing Character of War (Oxford, 2011), p. 3.
Lucrezia Borgia’s reputation precedes her, as the debauched daughter of Rodrigo Borgia, more commonly known as Pope Alexander VI. The Borgia family dominated Renaissance Italy, and some describe them as Italy’s original crime family. What an iconic bunch. Lucrezia gets a lot of attention, especially in relation to her three marriages, and reputation as an avid poisoner. Were these rumours true? As juicy as the details may sound, most historians agree that they weren’t, and that she was in fact the target of slander… but then again… although the theories have never been proved… they have never been disproved… see what I did there?
One of the most heinous crimes she is accused of is committing is incest with her brother Cesare, and her father. The accusations came from her first husband, Giovanni Sforza, whom she married in 1493. The marriage was a political one, and originally helped Alexander forge some powerful ties with the Duke of Milan, Giovanni’s uncle. Here, Lucrezia appears as more of a political pawn than a femme fatale, as she was thirteen at the time, and Giovanni was twenty-six. This marriage was annulled in 1497, much to Giovanni’s anger, because Alexander, in a political move, decided to back a French candidate to become the King of Naples. The Sforzas were the enemies of the royal family of Naples, and Giovanni was not happy, so Alexander sent him packing. In an attempt to preserve Lucrezia’s chastity, Alexander argued that Giovanni was impotent.
This was not true, as his first wife died in childbirth. Top marks, Alexander. In response to the whole situation, Giovanni accused Lucrezia of incest with her father and brother. The family weren’t much liked anyway, especially as they had come from Spain, and Italy was automatically suspicious of any outsiders. Enemies of the influential family lapped up the incest rumours, and rumours about Lucrezia’s general sexual discordancy and diabolical nature were rife. Freud would be having a field day. This is ironic, as she was named after the Roman noble woman Lucretia, who killed herself after she was raped by Sextus Tarquinius, in order to preserve her dignity and chastity.
Her reputation as a poisoner was tied to all the mysterious deaths that occurred around the Borgia family, including her own brother, Juan. It was rumoured she wore a hollow ring, containing poison, which she would deploy at parties to bump people off. Poison was popular in Renaissance Europe, as it left a lack of evidence, and was therefore difficult to trace. That’s why it’s popular with Shakespeare. It was probably tied to Lucrezia because poison was tied to women in general. It’s not as violent, subtle or ‘manly’ as thrusting a sword into someone, so a female poisoner was doubly scary, as a woman had easy access to all realms of the domestic sphere.
Gross sexual indecency continued to follow Lucrezia, even after the death of her second husband, Alfonso of Aragon. He was attacked and strangled in his bed, by an agent of her brother, Cesare in 1500. This only bolstered the incest rumours. Then, cue, Eastenders ‘duff duff,’ an illegitimate Borgia baby rocked up in 1501, whose parents were never officially disclosed. Who’s the mummy? Who’s the daddy? Was he Lucrezia’s, with her rumoured lover Perotto who mysteriously died two years before? Was the boy the son of Alexander and Lucrezia? Was it the son of Cesare and Lucrezia? Two Papal Bulls were issued, one saying that Alexander was the father, the other stating that Cesare was. Lucrezia acknowledged him as her half-brother. 
The rumoured Banquet of Chestnuts also spread of rumours of sexual discordancy within the family, as Johann Burchard describes:
“On the evening of the last day of October, 1501, Cesare Borgia arranged a banquet in his chambers in the Vatican with “fifty honest prostitutes”,called courtesans, who danced after dinner with the attendants and others who were present, at first in their garments, then naked. After dinner the candelabra with the burning candles were taken from the tables and placed on the floor, and chestnuts were strewn around, which the naked courtesans picked up, creeping on hands and knees between the chandeliers, while the Pope, Cesare, and his sister Lucretia looked on. Finally, prizes were announced for those who could perform the act most often with the courtesans, such as tunics of silk, shoes, barrets, and other things.”
… I have no words… which I know is rare.
Lucrezia’s reputation, and status as a mother, caught up with her by her third marriage to Alfonso d’Este in December 1501. It took a large dowry of a hundred thousand ducats to secure the marriage, because of said reputation. She was reluctant to marry again, telling her father that her ‘husbands had been very unlucky.’ A bit of an understatement, Lucrezia.
Alexander also paid a medical practitioner to attest that Lucrezia was a virgin. The presence of her son Rodrigo, by her second husband, may have been a slight giveaway. Lucrezia was forced to leave her son behind when moving to Ferrara for her third marriage. She would never see him again. Although this was a political move, Lucrezia was slated for it, with people claiming that she was a child abandoner devoid of maternal affection. I mean, she had eight children with her third husband so… Her image also wasn’t helped by the fact that she allegedly had affairs with poet Pietro Bembo, and her brother in law, Francesco Gonzago.
Apparently, Alexandre Dumas, author of ‘The Three Musketeers’ weighed in, stating that Lucrezia:
“… had a wild imagination, was an unfaithful woman by nature and was the daughter and mistress of her father while also engaging in intimate relations with her brother”
I mean… how would he know? It’s not like they ever met.
Even poet legend Lord Byron had a thing for her, stating that her love letters were the ‘prettiest in the world,’ in 1816. He also claimed that he stole a lock of Lucrezia’s hair which was on display in the Ambrosian Library of Milan, calling it the ‘prettiest and fairest imaginable.’ For goodness sake, Byron.
If we take all of these rumours as fact, we would have a woman who murdered people, committed incest, and discarded her child. She literally would be antithetical to anything found in the Bible, and more importantly the Virgin Mary. People probably classed her as a she-Devil, as the crimes she was accused of were of the most heinous. All this comes with the added irony that her father was the Pope! It’s not hard to understand why Lucrezia, and the Borgias, had such an infamous image. Even though it is believed that all of the rumours surrounding Lucrezia are untrue, even if they can ever be proved or unproved, it still makes for gripping reading.
Alec D’Urberville is ‘Tess of the D’Urbervilles’ big bad, as his rape of Tess sets all of the events of the novel in motion, leading Tess down a path of misery which ends in her death and his. Alec is initially portrayed as a bit of a moustachioed pantomime villain, but his later resurgence in the sixth phase of the novel shows that he has changed massively… or has he? I mean one thing that has definitely changed is, his moustache… that’s gone for good.
Tess is understandably distressed to see Alec preaching, as he comes across as a massive hypocrite. We are told that he hasn’t just changed, but that he’s undergone a whole ‘transfiguration.’ This is quite an aggressive reference to the Transfiguration of Jesus, perhaps prompting us to compare Alec to Jesus. I don’t think anyone in their right mind would actually do that, but Thomas Hardy wants us to believe that this man is totally different to the one that we originally met… but is he? Hardy is very descriptive about the whole thing, as he always is, but the most striking oxymoron is his note that Alec’s ‘animalism had become fanaticism.’ One minute Alec is the aggressive, forceful animal that raped Tess, next he is the religious zealot seeking salvation. Alec takes the ‘blame’ for Tess’ despair, and promptly wants to resolve the issue by deploying a ‘marriage license.’ He wants to marry Tess so that the rape effectively doesn’t count. Any sexual intercourse between them, pre marriage, wouldn’t really matter, as they would be husband and wife. Even before this, their sexual contact, consented or unconsented, would lead Victorian readers to believe that they were married in the eyes of the church. That’s Victorian sexual politics for you. Tess is married to Angel at this point, so naturally she doesn’t agree, and even though Alec’s attempts at making it up to Tess are extremely misguided, in his mind, he is trying to atone. Yes, to modern readers this sounds pretty crazy, but in his mind, and in the minds of Victorian readers, Alec is trying to do the right thing.
This falls flat though, even when he tries not to be tempted. Alec notes that he has a ‘fear’ of ‘women’s faces,’ because of how they tempt him. He even has the audacity to ask Tess to ‘swear’ that she won’t tempt him again. Tess may be tempting, but it isn’t her fault that Alec sexually assaulted her, so even though he is trying to atone, it appears that he still doesn’t realise that he is responsible for his own mistakes. Even though, we are told, that Alec has changed, and from this point is dedicated to his religion, it seems that he still doesn’t understand his past fully. But this conflicts with his declaration that he was to blame for Tess’ misery, so… he kind of atones but doesn’t fully understand how? It’s a tricky one.
This all becomes a bit clearer when his attempts to resist temptation fully break down. He promptly ditches preaching to give way to his ‘passion’ for Tess. So, before we could even fully understand Alec’s supposed conversion, he basically slips back into his old ways. Seeing Tess prompts a revelatory outburst, which adds to the complexity of the character, and makes for dramatically gripping reading:
‘I was on my way to salvation till I saw you again! He said, feverishly shaking her, as if she were a child. ‘And why then have you tempted me? I was firm as a man could be till I saw those eyes and that mouth again – surely there never was such a maddening mouth since Eve’s!’ His voice sank, and a hot archness shot from his own black eyes. ‘You temptress Tess; you dear witch of Babylon – I could not resist you as soon as I met you again!’
He’s gone on a full U-turn here, and goes back to blaming Tess for everything, after initially saying that she was blameless. He again, says that she tempted him, when in fact, she’s spent the last number of pages trying to shake him off. He casts her as a bit of a femme fatale. A lot in the novel is left up to chance, and if Tess hadn’t stumbled upon Alec again, perhaps he would have gone on to fully atone. It’s difficult to tell. Now, we know that Alec’s conversion is really just meant to criticise the hypocrisy of the church, as although it preaches forgiveness and love, Alec has been accepted even though he raped Tess. She suffers and loses faith throughout the novel, prompted by the refusal of the church to baptise her illegitimate child by Alec. Tess is unprotected by everyone in the novel, including the church. Where someone from the church should support her and help her, the church instead gives her the man who ruined her life, the difference being now that he has the backing of divine authority. It is incredibly hypocritical and insulting, and just reinforces Tess’ purity in contrast to the other characters within the novel. Even Angel, foretold as her guardian angel, is no saint. This girl cannot catch a break.
Alec certainly packs in a few Biblical references in his tirade, which is not uncommon throughout the whole novel. His likening of Tess to Eve demonstrates her uniqueness, and the pedestal that he places her on, seeing her as the first woman, and incomparable to all others. She isn’t just a woman, she’s the living embodiment of ‘woman.’ Obviously, Eve is tied up with temptation, and it seems that Alec has it in his mind that she was tempted by him. She did say that she found him handsome, but this obviously does not translate to consent. On the surface it seems pretty clear that Alec is the snake in the Garden of Eden. Tess’ association with Eve prompts the reader to wonder who her Adam is, and this is made even more complex when people debate if Angel is just as bad as Alec, and therefore unworthy of that title. Who sits in the Garden of Eden with Tess? Is it even Eden, considering how badly she is treated?
By the time anyone has the chance to figure out any of these questions, presuming that there is an answer, it is, as Tess says, ‘too late.’
Thanks for reading!
Stay safe, stay inside. Read something cheerful.
 Thomas Hardy, Tess of the D’Urbervilles, (London, Penguin Classics, 2003) p. 305.
It’s difficult to separate the fact from the fiction, when dealing with Mark Antony and Cleopatra, as so little sources survive about their love affair. One that does and is fairly accessible, is that of Plutarch, a renowned Roman philosopher and biographer. Now, he wasn’t alive to witness these events first-hand, but his account is frequently cited by historians. I didn’t get the impression that Plutarch was biased in favour of the Romans, and he appeared to portray Antony and Cleopatra both as real people. Shakespeare certainly took the events Plutarch describes as fact, so let’s see what he has to say.
On first view, Mark Antony seems like a bit of a jack the lad. From a young age, he is embroiled in ‘drinking bouts, love-affairs and reckless spending.’ This continues throughout most of his adult life, but does come into conflict with his ‘love of honour.’ On one occasion, before meeting with a senator in the morning, Antony got so drunk the night before that he vomited in his toga in the senators’ presence. Now fellow students, we can relate. This whole party hard lifestyle matched well with Antony’s philosophy to also work hard, as he was a well-respected politician and general, and under Julius Caesar, became one of the most powerful men in Rome. Antony, controversially, boasted that he descended from Hercules, which shows that he was a bit full of himself, but he still was able to accept the ‘good humour and jokes’ that people made about him.’ So, he probably sounds like that typical Uni lad, that we all know. It’s clear from his youth that he definitely has a ‘weakness for the opposite sex,’ and this certainly destroys Antony later on. Enter Cleopatra.
Plutarch credits Cleo with having the ‘strongest influence’ over Antony. When they first meet, she’s twenty-eight, and has already had an affair with Julius Caesar, a union which secured her position as queen of Egypt. She meets Antony in 41 BC in Tarsus, Turkey, and travels to him on the river Cyndus, under a ‘canopy of cloth of gold, dressed in the character of Venus.’ This was a piece of dramatic, political theatre, as Cleo demonstrated her wealth and power to the stunned Antony, in an attempt to woo him and secure his support, and vice versa. Cleo had a great ‘physical presence,’ and Plutarch rightly portrays her as not just a femme fatale, but a skilled political figure, who used her femininity and beauty for political gain. As well as this beauty, Plutarch writes that she had a certain ‘charm,’ and that ‘Plato speaks of four kinds of flattery, but Cleopatra knew a thousand.’ Antony is then whisked away to Alexandria by Cleo without hesitation. Her charm is demonstrated in one particular story, in which, at one of her lavish parties, she bet Antony that she could consume a meal worth 10 million silver coins. To do this, she dissolved her pearl earring in a cup of vinegar wine and drank it. It’s beauty and wit that seem to define Cleopatra.
Plutarch highlights the playfulness of their relationship. Cleo often humoured Antony, and when he would go on late night strolls through Alexandria, she would dress up as a maidservant and play along in his silly games. Cleo appeared to bring out this childlike side to Antony, as the Alexandrians observed that he had a ‘tragic mask for the Romans, and a comic one for them.’
The lovers’ ending is romantic and iconic. Their union was controversial and the favour that Antony continually bestowed on Cleo, at times in detriment to the Roman empire, angered the senate, making an enemy of Antony’s brother in law, Octavius. Eventually Octavius declares war on Antony, after denouncing him in the senate. Antony and Cleo recognised their impending doom, and formed a club named the ‘Order of the Inseparable Death,’ pledging to ‘end their lives together.’ In preparation, Cleo busied herself with testing poisons, and ascertained that the ‘bite of an asp’ was the most ‘painless.’
The affair takes a dark and betraying turn, when Antony kills himself upon the news that Cleo had done the same. Plutarch doesn’t really give his thoughts on why Cleo did this. It is difficult to see them both as genuine lovers when Cleo makes such a bold political move, knowing that her association with Antony is what is killing them both. His body is ‘hauled’ up the walls of Cleopatra’s monument, where she had retreated to for safety. Cleopatra in anguish tore her dress and lay it over Antony, and ‘beat and lacerated her breasts, and smeared her face with the blood of his wounds.’ There’s genuine pain and love here, which contrasts with her previous callous moves. I think that Cleo told Antony she was dead for political reasons, but this doesn’t mean that it’s not tearing her up inside. It’s not a cold-blooded killing but a sacrifice for Egypt, and her heritage. Plutarch portrays her as a complex woman, and maybe it’s part of the point that Plutarch, and by extension the reader, don’t fully understand her motivations, and never will.
Now, in true tragic fashion, we know that she poisoned herself, but it is unclear how the asp was brought to her. What is in a basket of figs? Did she provoke it with a spindle? It’s certainly a striking image. Cleo’s handmaiden, before she too killed herself, noted that ‘It is well done, and fitting for a princess descended of so many royal kings.’ Cleo gets the last laugh, as Octavius was reportedly ‘vexed’ that he could not parade her around Egypt as a spoil of the war that her death had ended. Octavius believed that the asp bit Cleo, citing puncture marks in her arm as evidence. In his victory procession, he had a statue built of Cleo with an asp clinging to her.
This article doesn’t cover half of the political drama, blood, lust and betrayal that went on behind closed doors during the lives of Antony and Cleopatra, but even if it did, I think I would still reach the same conclusion that Antony and Cleopatra both ‘lost the world for love.’
Thanks for reading!
Stay safe, stay inside. Read something cheerful.
 Plutarch, Makers of the Rome. Translated by Ian Scott-Kilver (London, Penguin Classics, 2004), p. 272.
Michael Crichton’s novel ‘Jurassic Park’ is certainly that, to the point where the readers are relieved by it. Crichton’s novel about genetically engineered dinosaurs running amok is a thrilling read, even if it’s not quite the same as actually seeing the dinosaurs for real on the big screen. What is omitted from the novel is the mass amounts of blood and body horror, which serve well to emphasise the threat, and nature, of the Jurassic monsters that roam the novels’ pages.
I mean, we aren’t even ten pages in and there’s already ‘blood everywhere’ after a worker is attacked by a Velociraptor. Next thing you know there’s baby dinosaurs tearing out ‘a ragged chunk of flesh from a baby’ in a hospital. These early scenes set up the threat of the dinosaurs, and tell the reader, before any character sets foot on the island, that the park is a big, bad idea. These initial incidences of violence don’t compare to the fate of Dennis Nedry however, who is caught by a dinosaur on his way to deliver stolen embryos to a rival company.
In the film, we know the dinosaur attacks Nedry, but we only see this through the translucent front window of his jeep. The book is far more graphic, with Nedry first going ‘blind’ after being covered in the Dilophosaurus’ acidic saliva. He then realises that his stomach has been ‘torn’ open by the dinosaur, and that his ‘intestines’ were ‘in his hands.’ Lovely stuff. It’s one thing to marvel at a dinosaur, but it’s another thing to come up close to it, and the frankest man in the novel, Ian Malcolm, astutely reminds John Hammond that these dinosaurs are ‘alive,’ they are not passive objects to be stared at.
Henry Wu too suffers later on in the novel but instead at the claws of the Velociraptors, who tear open Wu’s stomach and begin to munch on his intestines while he ‘was still alive.’ This is quite different to the film as Wu doesn’t actually die, and has popped up more recently in Colin Trevorrow’s Jurassic World films. There is a real obsession with intestines in the novel to be honest, and we even get a glimpse of a Velociraptors’ insides later on… but I thought two rounds of intestines was enough. It’s obvious as to why the novel is so bloody, as it’s trying to drum home the majority of Ian Malcolm’s remarks, that dinosaurs cannot be controlled. Wu claimed that they could be and look what happened to him. The novel is an exciting one, but to me it appeared primarily as a warning against genetic research, and more importantly, as a warning against messing with Mother Nature.
There’s a strange sort of natural justice in the novel, as the creator of the park himself is eaten by Compsognathus’. Note that this doesn’t happen in the film. John Hammond is oddly chilled about being eaten alive in the novel, and only feels a ‘slight pain’ when the dinosaurs begin to ‘chew his neck.’ Hammond didn’t really accept that his park was massively flawed in the novel and remained faithful to the last. It’s kind of fitting that he is consumed by the world that he wished to revive and recreate. He finds himself at the mercy of the Jurassic world, and it seems that he is honoured by this, as recreating the Jurassic era was his dream. In recreating the Jurassic world he was also responsible for all of the sufferings of the dinosaurs at the hands of humanity within the novel, so there is some sort of justice in there, as the dinosaurs take out the man that brought them back, caused them pain, and sort to use them in some crazy prehistoric circus.
We jump to Covid-19 now, and my ability to pretty much link anything to it. When commenting on the chaos within the park, Ian Malcolm notes that they ‘can’t see the other side until you’re there.’ We don’t know what the country, or even the world, will look like following the end of this crisis, and therefore maybe it’s best not to worry. It doesn’t really do much good for anyone’s mental health. We don’t know what will happen, and how everyone will emerge, we just have to wait until we get there. Even though the wait may still be quite long, try to rest easy, as the reality of the situation is that, as we see in ‘Jurassic Park,’ ‘life finds a way.’
Thanks for reading!
Stay safe, stay inside. Read something cheerful.
 Michael Crichton, Jurassic Park, (London, Arrow Publishing, 1991) p. 123.
Up to 40,000 people died during the early modern witch craze. Throughout this time, peoples’ understanding of witches frequently changed, in relation to ‘maleficia’ and the nature of witches, their gender, the law, the Reformation and the scepticism that emerged during the Enlightenment.
It was originally believed that witches practised magic, or ‘maleficia,’ on their own. Theologians and lawyers later argued that the ‘essence’ of witchcraft was a pact with the Devil. Now this was worse than previous ideas, and more ludicrous, as people were accused of secretly meeting with the Devil at sabbaths. At these ceremonies, they would take part in rituals that mocked the mass. Through this activity, witches directly threatened Christendom, as they took part in heretical practices. It was the Devil who brought all sin into the world, and Protestants and Catholics sought to eliminate Him. The Devil’s collusion with ordinary people meant that the threat of evil was ever present. See the change? First witches work alone, now they work with the Devil. This belief led to an increase in witch hunts, as peoples’ fear of witches, as well as the religious desire to stamp out evil, increased.
At first, people thought that only females could be witches… sorry ladies. This belief was solidified in Heinrich Kramer’s ‘Malleus Maleficarum,’ published in 1486, which claimed that women were more ‘impressionable’ to the charms of the Devil, due to their ‘fragile feminine sex.’ 75 to 85 percent of tried witches were female, which showcases the impact of Kramer’s work. Apparently women were better placed to carry out the Devil’s work, as their domestic roles in the household, such as cooks and midwives, gave them the opportunity to poison food and kill new-born babies. Accused women also did not conform to the ideal image of passive womanhood. The indictment against Scot Margaret Lidster in 1662 described her as a ‘witch, a charmer and a libber,’ the latter term being a negative connotation of a ‘liberated’ and free-thinking woman.’ The idea that witches were women rebelling against the social norm was a prominent one throughout the sixteenth century.
However, Christina Larner argued that ‘witchcraft was not sex specific,’ and this was true. Catholics and Protestants acknowledged this, attributing the idea to the gender ambiguous Biblical quote ‘Thou shalt not suffer a witch to live.’ Catholics noted that men could also attend sabbaths, explaining the rise in male prosecution for witchcraft. Rita Voltmer demonstrates this change when examining the Rhine-Meuse region in the city of Trier, where a number of boys claimed to have attended the sabbath in order to provide musical entertainment. This reflected the male role in village life, as men were pipers and drummers. The idea spread due to the publication of the ‘Tractatus de confessionibus maleficorum et sagarum,’ in 1589 by Peter Binsfield, the Bishop of Trier, which recounted his experience of the Rhine-Meuse trials. This led to an increase of printed images and etchings of men at the sabbath, meaning that both men and women could be convicted and condemned. That’s some twisted gender equality right there. Male witches also inverted the traditional values of their sex, as women did, as the former were depicted as poor husbands and father figures, and effeminate, weak men. The Devil suddenly became even more scary as he could corrupt men and women.
Changes to the law allowed a greater rise in witch hunts, as people became more willing to accuse their peers of witchcraft. Traditionally witches were tried using accusatorial methods, in which the suspect knew the accuser. Said accuser could also be put on trial if the charges against the defendant turned out to be a load of rubbish. As the accuser was at risk, people were unwilling to testify. The inquisitorial method remedied this. Under this system, only legal authorities could bring cases forward, and a confession was required before execution, which was usually obtained through intense questioning and torture. Torture was used as lawyers did not believe that witches acted alone, and they sought the names of their conspirators. This change encouraged people to accuse others, as those doing the accusing were not put at risk themselves. The inquisitorial Method led to more deaths in Germany, Switzerland and Southern France. So, changes in the law meant big changes for witches.
Differing Catholic and Protestant ideas too affected witches. Protestants believed that the threat of the Devil was forever present. They downplayed the threat of witchcraft and instead were more concerned with the threat of Satan. Catholics agreed about the threat of the Devil, but some believed that the rival Protestant faith was itself the work of the Devil, leading to accusations of heresy and heightened religious conflict. Catholics continued to persecute Protestants in order to purify the world of Satan’s heresy, and planned to do so internally by resisting temptation, and externally, by prosecuting witches and heretics. Witch hunting was severe in places that harboured conflict between Catholics and Protestants, and especially affected religious minorities living on the boundaries of states with different religions, such as Germany and Scotland. The world officially went nuts.
Scepticism and enlightened attitudes also played a role. Some witch hunts ended due to the ludicrous nature of the accusations, and the lack of proper evidence for witchcraft. This was supported by peoples’ doubts over the existence of witchcraft, such as Johann Weyer and Reginald Scot. This led to tighter controls being issued by the superior central courts, such as the Parlement of Paris. The Parlement decreed that all witchcraft convictions needed judicial review, which was adopted in 1604. With proper restrictions placed on witch trials, practices such as torture to obtain confessions were halted, leading to a decrease in prosecutions. The legal constraints made it harder for the authorities to obtain a guilty verdict. People stopped accusing others of witchcraft, believing that their case would be dismissed. Therefore, cases declined… mainly because people started to engage their brains.
Religious ideas about the Devil too aided the decline of prosecutions. Leading Protestant thinkers, such as Luther and Calvin, maintained that God was sovereign and would always prevail against the Devil, as stated in the Bible. Protestants took the Bible as the word of God, and discarded ideas that were not explicitly recorded in it as invalid. The Bible did not mention Devil worship, and instead detailed how God actively restrains the Devil, which prompted Protestants to argue that witchcraft was not a threat.
From gender to religion, law to scepticism, beliefs about witches and their nature changed frequently throughout the 16th and 17th centuries. It’s lucky that common sense prevailed and eventually led to the decline of witchcraft prosecutions.
Thanks for reading!
Stay safe, stay inside. Read something cheerful.
 T. Blanning, The Pursuit if Glory: Europe 1648-1815, (London 2008), pg. 464
 B. Levack, The Witch Hunt in Early Modern Europe, (London, 2006), pg. 8.
 M. Wiesner-Hanks, Early Modern Europe, 1450-1789, (London, 2013), pg. 434.
Today we navigate through the dangerously queer displacements of desire in ‘Frankenstein’ and ‘Dracula’! Before we start, some definitions:
‘Displacement’ originates from Freud and is defined as the unconscious ‘shifting of energy’ from one person to another, the ‘energy’ in question being desire. 
‘Queer’ refers to anything that opposes the dominant ideals that humanity is supposed to conform to.
Victor Frankenstein’s creature and Dracula are therefore queer, as they subvert the conceptional ideals of humanity, being an artificially created monster and an undead vampire. I know, scary stuff. The queer displacement of desire involves the subconscious, a lack of control, the invasion of the mind and body, the formation of a network of queer, non-heteronormative relationships and finally, death. Read on if you dare!
The queer displacement of desire first pops up via the subconscious in ‘Frankenstein.’ Victor Frankenstein’s established love for Elizabeth Lavenza is pitted against his desire to animate the creature. The queer displacement of Victor’s desire is first explained in Victor’s dream, in which, after kissing her, Elizabeth transforms into Victor’s mother, before he catches sight of the ‘miserable monster.’ In Victor’s subconscious mind, his desire for Elizabeth is displaced by his obsession with the creature. His kissing of Elizabeth offsets the events within the dream, creating an ideal image of heterosexual relations. This romantic gesture upholds heteronormative ideals, but quickly rejects them when the creature appears, as he becomes the object of Victor’s romantic desire. This relationship fully subverts heteronormativity, and is queer, as Victor appears to have romantic feelings for an artificially created being of the same gender. The shifting images in Victor’s dream directly correlate to the queer displacing of his desire, in favour of the creature. Haggarty validates this, arguing that queerly displaced desire raises questions about male homosexual desires. Victor’s queer, non-heteronormative desire for the creature, displaces his desire for Elizabeth, as outlined by his subconscious mind. Victor cannot control this, suggesting that he cannot control the queer displacement of his desire. All in all, dreams are complicated and crazy things.
A lack of control in relation to the queer displacement of desire is also apparent for Jonathan Harker in ‘Dracula.’ Jonathan’s heterosexual desire for his fiancé Mina Murray is displaced in favour of the Brides of Dracula, which is displaced further by an encounter with Dracula himself, leading Maurice Hindle to assert that ambiguous desires drive the novel.
Jonathan’s desire to marry Mina allows the reader to understand the magnitude of his displaced desire, as he finds himself thrilled and repulsed by the Brides of Dracula. Jonathan describes that their teeth ‘shone like pearls against the ruby’ of their lips. The references to jewels suggest that their beauty is artificial, unnatural and downright creepy. Despite their queer appearance, Jonathan still has a ‘burning desire’ to be kissed by them, emphasising that his desire has fully shifted away from Mina in favour of the Brides.
Jonathan lacks control in this scenario as he takes the place of the female, as he ‘waited,’ and wanted, to be penetrated. Jonathan refers to the Brides as animalistic, implying their role as predator and his as their prey. His masculinity is fully subverted by the Brides, who adopt this masculinity by being sexually dominant. Jonathan instead displays a ‘feminine passivity’ towards them. This example of ‘sexual inversion’ further emphasises the queer nature of Jonathan’s displaced desire, as he has entered into a relationship that has disrupted heteronormative gender roles, as the women are sexually dominant, and the male is submissive. This is some real old fashioned thinking here.
Jonathan’s lack of control, and desire to be penetrated, is further explored by Dracula’s entrance. Dracula interrupts the Brides’ seduction of Jonathan by declaring that ‘this man belongs to me,’ taking full ownership and control of Jonathan. At this point Jonathan loses control fully, as he falls ‘unconscious’ and is at the mercy of Dracula. He later wakes up in his ‘own bed,’ to find that his ‘clothes were folded and laid on the bed.’ This implies that Jonathan was undressed by Dracula. It appears that Dracula’s claiming of Jonathan refers to Dracula’s sexual ownership of Jonathan, and control over his body. This hints at another queer displacement of desire that is non-heteronormative, due to the homoerotic undertones. Christopher Craft recognises the implication, arguing that Dracula’s penetration of another male is ‘threatened’ throughout the text.’ Craft’s use of ‘threatened’ implies that he recognises that no homosexual sex is explicitly stated, but also confirms that Craft believes this idea to be disruptive to the norm.
Mina too lacks control in her relationship with Dracula, and this results in the forced invasion of her mind. After forcing her to feed on him, Dracula declares that Mina shall come to his ‘call’ as he has forged a telepathic connection with her. Dracula declares that Mina is now of his ‘flesh,’ implying that they are the same person, in a scenario that Hindle compares to ‘forced enslavement.’ As a result of her displaced desire, Mina’s mind is invaded by Dracula, allowing him to take full ownership of her, and enslave her. Dracula’s connections with Mina and Jonathan lead to a complicated network of queer, non-heteronormative relationships.
The pairing of Jonathan and Dracula, and Dracula’s assault of Mina leads to the development of a network of queer, non-heteronormative relationships. Mina is found with her face forced in Dracula’s ‘bosom,’ and her ‘white nightdress smeared with blood.’ We don’t know whether Jonathan and Mina have consummated their marriage, and her encounter with Dracula hints to this action, subverting her traditional union with her husband. Robert Tracy speculates that this scene represents consummation, as Dracula’s bite is seen to be penetrative and therefore sexual. The white of Mina’s nightdress, which is representative of her purity, is stained by blood, a reference to the breaking of her hymen and loss of her virginity, creating an unholy union between herself and Dracula. Tracy recognises the queer nature of this, explaining that this ‘consummation’ creates a triangle that transcends and disrupts the loyalties of marriage, the bond between husband and wife. Dracula’s encounters with Mina, and Jonathan, and the various queer displacing of the characters’ desires, disrupts the institution of marriage, creating a network of queer and non-heteronormative relationships. Similar networks are also formed in ‘Frankenstein,’ between Victor, the creature and Elizabeth, as outlined by Victor’s dream.
The network of queer, non-heteronormative relationships between Dracula, Jonathan and Mina are forged due to Dracula’s overpowering sexuality, which is an important aspect of the queer displacement of desire. Despite her distress, Mina notes that she ‘did not want to hinder’ Dracula, when he forced her to feed on him. Here she changes from an unwilling to willing participant in this action, implying that Dracula unlocks her sexual desires, and that she indulges in them with him. Her desire for Jonathan is queerly displaced in favour of Dracula in this moment. Judith Weissman is unsurprised by this, citing Dracula’s unprecedented, unmatched sexual performance as the reason why Mina succumbs to him. Such a union between a human and supernatural being is especially queer, as Mina is supposed to be one of ‘God’s women,’ a figure that would be antithetical to the ‘devilish’ Count. It appears that the overall sexiness of vampires is overpowering yet attractive to humans, as demonstrated by Jonathan’s encounter with the Brides, and Mina’s with Dracula… and apparently ‘Twilight.’ This is queer, as the satanic-like vampires are able to seduce even the purest of humanity, such as Mina. To varied extents, both Mina and Jonathan indulge and allow this unholy sexual union, emphasising the queer nature of their displaced desires.
Death is the outcome of the queer displacement of desire within the Gothic novel. Victor’s dream implies that he has created death instead of life, as after kissing Elizabeth, she becomes ‘livid with the hue of death.’ This foreshadows her death at Victor’s hands, as he has prioritised the creature over her. Haggarty too observes this, noting that Victor’s displaced desire for the creature and his neglect of Elizabeth leads to her death. This is highlighted by Victor’s misinterpretation of the creature’s warning, that he shall be with Victor on his ‘wedding night.’ Victor rudely forgets that Elizabeth will too be present on their wedding night, as traditionally it is when the marriage is consummated. Duh. This supports the idea that Victor harbours homosexual feelings for the creature, as Victor chooses to delay the consummation of his marriage and pursue the creature instead. This implies that Victor’s desire has been fully displaced away from Elizabeth, leaving her vulnerable. Unsurprisingly, Elizabeth is later found ‘lifeless and inanimate.’ Elizabeth’s death is the result of Victor’s queerly displaced desire, and her demise frees Victor to pursue the creature for the rest of the novel. Elizabeth’s death is similar to that of Mina’s assault in ‘Dracula,’ demonstrating that the tension caused by the queer displacement of desire reaches its peak at moments that are sexually charged, as like the creature, Dracula throws ‘his victim back upon the bed.’ Ultimately, the displacement of desire describes a shift in lustful thoughts from one to another, and it is unsurprising that the climax of such conflicting desires sometimes results in death.
The queer displacement of desire away from the heteronormative is dangerous within the Gothic novel, as it just causes a load of grief and sometimes death. Just steer clear of vampires and artificially created monsters, and you’ll be fine.
Thanks for reading!
Stay safe, stay inside. Read something cheerful.
 Salman Akhtar, Comprehensive Dictionary of Psychoanalysis (London: Karnac Books, 2009) p. 263.
 David Halperin, Saint Foucault: Towards a Gay Hagiography (Oxford: Oxford University Press, 1997) p. 62.
 Robert Tracy, ‘Loving You Always: Vamps, Vamps, Vampires, Necrophiles, Necrofilles in Nineteenth-Century Fiction’ in Sex and Death and Victorian Literature, ed. by Regina Barreca, (London: Macmillan, 1990) pp. 32-59. p. 34.
This post contains full spoilers about ‘Little Women’!
Louisa May Alcott’s semi-autobiographical novel has charmed the hearts of Americans for generations. I only took notice of it following the release of Greta Gerwig’s adaptation in December 2019, which prompted me to read the book. Although I wouldn’t describe it as the most gripping read, it has heart, and I can understand why so many readers care greatly for the four March sisters. Their own distinct characters ensure they are individuals, who stand apart from one another. Each could probably have their own novel, and it’s surprising that Alcott can pull off such distinctly different women in a world and time where women were mainly domesticated and marginalised. There are timeless lessons that one can pick up from the novel, which, in this period of uncertainty are really more relevant than ever.
The novel also succeeds in being a feminist novel without having the need to ram it down your throat. Its tender and touching emphasis on the matriarchy and its importance is well handled on several occasions, see here:
‘They all drew to the fire, mother in the big chair with Beth at her feet, Meg and Amy perched on either arm of the chair, and Jo leaning on the back, where no one would see any sign of emotion if the letter should happen to be touching’
The image of the ‘little women’ crowding around their mother is a heart-warming one, which subtly tells the reader that, although they want their father, they don’t need necessarily him. In other words, a family doesn’t need a strong, patriarchal figure to ensure all hell doesn’t break lose. It’s subtle, but it’s there. The girls and their mother form an interconnected network of sisterhood, which gives them enough strength to overcome to the trials and tribulations within the novel. With their mother at the centre, these girls feel they can face anything, which is a true testament to the power of motherhood and the matriarchy. Laurie too benefits from this, as before the sisters came to him, he was a lonely, ‘solitary’ figure. This emphasises the benefits of the matriarchy, and the healing power that it brings. This also, by extension, explains the benefits of family, and how we need to rely on each other in times of crisis, such as Covid-19.
Although some people may think that the novel is written about women for women, the lessons within can be universally applied. Meg, the eldest March daughter takes some time away from her home to be with friends but is ridiculed and is the subject of ‘foolish gossip.’ Mother March swoops in to comfort her distressed daughter, to emphasise that, above all else, the happiness of her daughters is of primary importance. From this we learn what is important in life, that people are happy. It also teaches people that women shouldn’t tear down other women, and by extension no one should tear down or mock anyone else. Especially in times of crisis such as this, people should be supportive of one another, but this gesture also should extend to the normal as well as the abnormal. Some people criticise Meg, as her dream is to be a loving wife and mother. People jump in to say that this is anti-feminist, as her desire essentially is to serve. However, surely feminism advocates the idea that women should be allowed to do what they want to do, and this is what Meg does. Her dreams are no more or no less than any other character, and Mother March’s sentiment that, all she wants is for her daughters to be happy, emphasises the importance of motherly love and subtly advocates autonomy for all, regardless of gender.
The novel’s enduring message is one of hope, as following Beth’s death, things appear pretty bleak for the March family. Styled as the most innocent and pure of all the sisters, several incidences of foreshadowing implied to me that Beth may not survive. Despite this major disruption to the March family dynamic, through relying on the lessons their mother has taught them, and by binding together as a family, the end of the novel seems hopeful. Meg, Jo and Amy are happily married, which is what they wanted, and their parents are pleased with this development also. The family’s reliance on each other is what pulls them through their grief, and it appears that this message in particular is more relevant than ever. The last image echoes that of the earlier pages, with Mrs March gathering her family together, expressing her love and devotion to her children. This again, emphasises the importance of family, and its ability to act as a constant in all of our lives. Although Beth’s untimely death disrupted this constant, the maintenance of the March’s remaining family networks, bonds between mother and daughter, sister and sister, wife and husband and all other familial ties, ensured that the March family returned to stability, through their resilience, strength and undying hope.
So, in these troubled times, take a lesson from the ‘little women,’ support each other, have faith and have hope.
Thanks for reading!
Stay safe, stay inside. Read something cheerful.
 Lousia May Alcott, Little Women, (London, Penguin English Library, 2018) p. 13.
The term ‘consciousness’ is used to describe a person’s perception or awareness of something else, and as an English literature student, exploring the conscious mind of a character is how one truly gets to know them. By exploring their innermost fears, desires and loves, the true nature of a character’s personality can be revealed. The writer provides the consciousness of the character, and then the conscious reader will have to be susceptible enough to make good use of it. It is also important as a reader to be conscious of symbols and motifs in novels, so that we can understand the text in full. These motifs and symbols could be anything from colours to Biblical references.
The conscious reader would be able to recognise Thomas Hardy’s use of colour in his 1891 novel ‘Tess of the D’Urbervilles,’ as the title character’s frequent association with the colours of red and white is clearly a reference to her dual personality as whore and chaste virgin. Red represents sexuality, and white represents purity. The conscious reader would develop this further, perhaps in reference to Freud’s ‘Madonna-whore complex,’ a dichotomy that explores the two personas that a woman could conform to. For more on that, follow the footnote!
For example, in Mary Shelley’s 1818 novel ‘Frankenstein,’ the Monster refers to himself as Adam. The conscious student will recognise that this is a reference to the first man placed on Earth, Adam, placing Frankenstein as God the creator, and the Monster as his first human creation. This analysis aids our understanding of the story as a whole, and the mentality of the Monster as he considers himself to be the first and only member of his own kind in existence.
The above two examples demonstrate the importance of being a conscious reader, and what a conscious reader will be able to find when interrogating a text. The above example of Frankenstein can be used to bridge the gap between the conscious reader and the consciousness of a character. Shelley provides an insight into the consciousness of the Monster by allowing him to refer to himself as Adam, and the conscious reader will then pick this up, explore it and end up with a better understanding of the Monster. Still following?
Another text that utilises the idea of consciousness in order to allow the audience to understand the characters involved more fully, is Shakespeare’s iconic tragedy ‘Hamlet.’ Hamlet’s own psyche and consciousness is explored through his seven soliloquies; seven speeches that the character delivers when he is alone on stage, explaining his inner thoughts, feelings and struggles. These seven speeches revolving around the consciousness of Hamlet provide plenty of material for the conscious reader to scrutinise.
Hamlet is set on a revenge mission to kill his uncle king Claudius, who had previously murdered Hamlet’s father and former king. Shakespeare draws inspiration from traditional revenge tragedies in the writing of the play, but also uses Hamlet’s own consciousness to break such conventions.
In traditional Greek tragedy, the act of revenge would occur quickly within the narrative, thus prompting the end of the play. Hamlet deliberates for five acts, and keeps the audience updated on the goings on within his mind via his seven soliloquies. This allows the play to develop on the traditional idea of Greek tragedy and address bigger questions.
The play itself is not just about the act of revenge but is more about the inner workings of Hamlet’s mind. His famous declaration of ‘to be or not to be’ is proof of this, as Hamlet explains to the audience that he is contemplating suicide. Without such insights into the characters mind, our understanding of the play would be greatly affected. Shakespeare utilises the idea, and literary technique, of ‘consciousness’ within the play to offer a tragedy that is of greater psychological complexity than the tragedies that have gone before.
Shakespeare is given this merit through the deployment of the seven soliloquies, and insight into the consciousness of Hamlet. Through the addition of these seven speeches, Shakespeare ensures that the audience can fully understand the character of Hamlet and his inner turmoil, thus reinventing the idea of a Greek tragedy. This is a clever move from Shakespeare, as the technique he deploys is one that gives the play greater depth.
‘Hamlet’ is widely praised for its complexity, and Shakespeare’s active interest into the conscious mind of his characters explains why. Hamlet is conscious of the fact that he has been asked to commit murder, and that he cannot carry this out without sufficient evidence. It is this struggle that he disseminates to the audience via his soliloquies.
Hamlet’s reputation as a great philosopher, and his tendency to contemplate the larger questions in life, stem from his soliloquies, which stemmed from Shakespeare’s desire to create a revenge tragedy that explored and interrogated the consciousness of its characters.
Emperor Aurangzeb is frequently viewed as a discriminatory figure, unlike his great grandfather Emperor Akbar, who is celebrated for his religious policy of tolerance. However, if we look past this, it becomes clear that Aurangzeb’s main concern was the maintenance of the empire, and not religion. What people view as Aurangzeb’s botched and discriminatory religious policy really isn’t one at all, as instead of a religious policy Aurangzeb was trying to maintain a larger policy of empire.
Bhimsen, a Hindu Kayastha memoirist, claimed that Aurangzeb had willingly sacrificed the ‘happiness of the subjects’ during his reign, suggesting that Aurangzeb had thrown out with his great grandfather’s policies of religious tolerance. Another example of this is Aurangzeb’s banning of religious festivals eight years into his reign, such as Eid al-Fitr, Holi and Diwali. On the surface this appears to display Aurangzeb’s religious intolerance, in comparison to Akbar, who welcomed different cultures and religious ideas. Aurangzeb also reinstated the Jizya tax, a tax specifically levied against non-Muslims within the empire in 1679, which further fuelled the image that he was a discriminatory, nasty piece of work. Aurangzeb’s decision to tear down several Hindu temples also painted him in a religiously intolerant, in contrast to Akbar. However, upon closer analysis we can actually see that Aurangzeb’s actions were not religiously motivated, unlike Akbar’s, but politically motivated for the maintenance of the empire. The maintenance and strengthening of the empire were Aurangzeb’s primary concerns, even if this resulted in accusations that he wasn’t prepared to give other religions the time of day.
At first it may appear that the restrictions Aurangzeb placed on religious festivals displayed his religious intolerance, but this isn’t true! In his writings, Bhimsen Saxena describes a festival that occurred every twelve years near Trimbak, Maharasthra, in which armed bands fight one another, which lead to fatalities. Frenchman Jan de Thevenot describes the Muharram celebrations in his work, writing that in Golconda in 1666 to 1667, violence was standard between Muslims and Hindus. At the Murharram celebrations of Burhanpur in 1669, fifty people were left dead. Aurangzeb wasn’t happy about this, and was also disturbed by the use of ‘obscene language’ used during the festivals of Holi and Diwali. Unlike nowadays, it appears that back in the day, festivals were violent and unruly events, which often ended in death. Based on these facts, Aurangzeb’s decision to ban such gatherings should not be linked to some sort of religious policy, but linked to his desire to maintain order and stability within his empire. In this situation Audrey Truschke notes that Aurangzeb’s key concern was ‘public safety,’ not religion. Aurangzeb adopted the idea that pleasing everyone was not essential to the running of a successful empire. His banning of such festivities was not related to some sort of religious policy, but related to his desire to preserve the empire, and prioritise the safety of those within it. Makes sense, right?
Aurangzeb’s reinstallation of the Jizya tax in 1679 was also not religiously motivated but was motivated by his larger policy of empire instead. Satish Chandra recognises this, arguing that the reinstallation of the tax was in response to the current economic crisis. The tax was reinstalled to fund money for the maintenance of the empire, not to discriminate against non-Muslims. The tax also provided much needed work and employment to those within the empire, and admin posts were given to Hindus. The fact that Aurangzeb provided work for Hindus further supports the idea that he was not religiously intolerant towards them, but more concerned about the state of the economy within the empire and not the religion of those within it. See, he’s not that bad really!
Aurangzeb is also known for destroying several Hindu temples across the empire. Richard Eaton notes that Aurangzeb only destroyed just over a dozen temples, and that he did order the construction of some. Aurangzeb only destroyed temples for valid reasons, such as Benares’ Vishwanatha Temple in 1669, and Mathura’s Keshava Deva Temple in 1670. Both temples acted as bases for political unrest within the Mughal empire, which prompted Aurangzeb to take action. His destruction of the above temples was not religiously motivated but motivated by his desire to ensure peace within the empire. The Keshava Deva temple was patronised by Dara Shukoh, Aurangzeb’s brother and main rival to the throne, and after several uprisings in 1669 and 1670, Aurangzeb destroyed the temple to put down the political unrest that it had encouraged. Aurangzeb believed a good ruler was one that ensured expansion of the empire, and he did so by putting down political unrest. Again, this decision was not motivated by some sort of religious policy, but a larger policy of empire.
Aurangzeb even said that he was not massively concerned with the religion of others, drumming home the fact that he was more concerned with his empire. A Muslim from Bukhara who had entered Mughal service in the late 1680s argued that the emperor should take the religion of people into account before they were allowed to enter into Mughal service. Aurangzeb rejected this proposal, asking ‘what connection have earthly affairs with religion?’ This clearly shows his disregard towards the subject of religion, in favour of the subject of empire. He also noted that ‘for you is your religion and for me is mine.’ Aurangzeb was willing to recruit people of all faiths into Mughal service, demonstrating yet again that all his decisions revolved around the maintenance of the empire. It also shows that Aurangzeb was not intolerant towards people of other faiths as people have incorrectly stated. In the first twenty one years of Aurangzeb’s reign, twenty one percent of the Mughal nobles were of the Hindu faith. This is only one percent off from the amount of Hindu Mughal nobles in Akbar’s reign, which disapproves the common perception that Aurangzeb discriminated against non-Muslims.
So here we can see that Aurangzeb shouldn’t be criticised for what some perceive to call his “religious policy.” I hope I’ve proved that, despite common misconceptions, all of Aurangzeb’s actions, as described above, were undertaken for the maintenance of the empire, his number one priority.
Thanks for reading!
Stay safe, stay inside. Read something cheerful.
 B. Metcalf and Metcalf, A Concise History of Modern India, p.30.
 Truschke, Aurangzeb: The Life and Legacy of India’s Most Controversial King, p. 74.
Now, as a student of both English and History, I’m not surprised that both topics have the ability to predict the future. We are living in unprecedented times, and probably facing the biggest crisis most of us will face in our lifetimes. The first thing I thought of, when I watched Boris enforce a quarantine, was that what was occurring in the world was like something I have read in a book. Those books are usually part of the Dystopia family, a genre that explores what will happen to the world, and humanity in the far future following some sort of apocalyptic event… in other words, it looks at a world where everything has gone to BLEEP.
A simple definition of the genre is the opposite of utopia, an idea outlined by Thomas More in his work, ‘Utopia,’ written in 1516. If utopia is the perfect world, dystopia is the direct opposite. There are different types of dystopia, and the genre evolves in response to different crises at the time, much like the one we currently find ourselves in. We get ‘Farenheit 451’ following Hitler’s abominable book burnings, ‘The Day of the Triffids’ follows fears about communism and the oncoming Cold War in the 1950s, and so on… People have also picked up on the fact that Dean Koontz’s ‘Eyes of Darkness,’ written in 1981, predicted the rapid spread of a virus originating from Wuhan in 2020. Now is the time to take literature seriously. This may not be the most cheerful subject in these times but prepare yourself for a whistle-stop tour of the Dystopian genre!
George Orwell’s ‘1984,’ published in 1949, has been in our minds for some decades now, due to rises in technology and its ability to become more invasive… and humanity’s ability to be lazy. Conspiracy theories about Alexa’s secret government connections hark back to Orwell’s “telescreens,” and even Facebook showing me ads for things I’ve mentioned in conversation contributes to the idea that we are always being watched by ‘Big Brother’… and I don’t mean Davina McCall’s smash hit on Channel 5… even though the title of the show is lifted from Orwell’s own mind. The idea of being controlled and constantly watched sits firmly with the idea of Totalitarian Dystopia, a world in which we have no control, and where the concept of freedom is a distant memory.
Aldous Huxley followed up Orwell’s harsh world in 1932 with his softer dystopia ‘Brave New World,’ in which people are willingly controlled by a drug named “soma,” distracting characters like Mustapha Mond and Lenina Crowne from tension, worry and pain. They really don’t like the idea of talking about their problems, and instead dose up on drugs to suppress their inner pain. Sound familiar? The UK had hit a major economic depression in the year prior to the novel’s publication, perhaps explaining Huxley’s exploration of the conflicting interests of the individual and society, propelled by the growing widespread fear of Americanisation. In a novel that puts together drugs, Shakespeare, suicides and orgies, in retrospect it seems to have predicted the birth of contraception and the free love that swept the world in the 60s, and still does today.
Anthony Burgess cranks up the violence in his 1962 work, ‘A Clockwork Orange.’ The novel follows Alex and his “droogs,” gang, as they go around pillaging, rioting, stealing and generally just acting like a bunch of BLEEPs. Like dystopian novels before his, Burgess responded to the current context and situation, more specifically, the mass delinquency that followed the Second World War. Young men found themselves with little to do, and at the time, hippies and skinheads were blamed for encouraging violence in the post war period. Burgess tapped into that, and within the novel explored how said teens can be controlled, using the fictional “Ludovico’s technique,” which is effectively a barbaric procedure to reduce people to brainless bags of meat. I did say this wasn’t going to be cheerful. Burgess raises the question as to whether it is ok to treat anyone in this way, regardless of their crimes and behaviour.
‘The Handmaid’s Tale’ enters the world with a bang in 1985, coming from the mind of Canadian writer Margaret Atwood. The novel really is the big one if you want to look at sex and gender in dystopia. Atwood appears to have responded to the current form of feminism, which we retrospectively dub as Second Wave feminism. This focused on the woman’s role in the home, and how actions are specifically gendered. It also asserted that the patriarchy originated in the home, due to the dominant father figure, and that this ideology was imprinted on the children, which they then carried on, and into the world outside. Those who have read the novel will know that it centres on women’s ability to bear children, which is primarily a domestic issue. In response to Donald Trump’s authoritarian presidency Atwood rolled out a sequel, ‘The Testaments’ in 2019. This was probably one of the first incidences in which a dystopian novel had a female protagonist, an idea that really takes flight in the 21st century.
I’m going to briefly touch on Malorie Blackman’s 2001 novel ‘Noughts and Crosses,’ which has just aired on the BBC. I haven’t read it myself, but it’s an example of how the Dystopian genre can adapt to anything, as it describes a futuristic world in which racial segregation is enforced in favour of the African upper-class. It’s noteworthy for this, as well as its inclusion of a female co-protagonist in Sephy Hadley. Give it seven years and Suzanne Collins will give us female fighter Katniss Everdeen in ‘The Hunger Games.’
Cormac McCarthy’s 2006 depression fest ‘The Road’ responds to our current economic crisis, as the constant use of the word “grey” really drills home the fact that the Earth is dying. A man and boy, who remain nameless as, what’s the point in identification and attachment now, trek through America to safety, hiding from fearful landscapes and human cannibals along the way… whilst having an existential crisis. It examines the human condition following an apocalyptic event, looking at starvation and malnutrition… loo roll is the least of these peoples’ worries. As if my Year 13 wasn’t stressful enough.
This is really a small selection of novels birthed from the genre… I would do more, but I don’t want to depress anyone further.
So really, the point of this post has been to show people that artists are influenced by what they say and what goes on in their times. The only thing left for us to wonder is, what novels, poems or plays will we get that have drawn inspiration from the 2019-2020 Coronavirus pandemic?
Now, I like Othello. Shakespeare brings the issue of race into his plays, and really paints a stunning portrait of a pure marriage that is slowly poisoned. Despite that being at the heart of the play, I found that a lot of other aspects of it are slightly underdeveloped… and even slightly annoying.
Let’s start with the main man. Being Shakespeare’s first explicit, in my view, black character, Othello earns himself an immediate reputation. He does have some great lines, and a tragic story, but apart from that, he is fairly passive. He is extremely gullible and is basically Iago’s plaything. Othello is really led by him and is led to the conclusion that Desdemona is being unfaithful. In this respect, Othello doesn’t have much agency, he doesn’t think for himself and he basically does what he’s told. In comparison to other Shakespeare protagonists, from Richard III to Hamlet, Othello oddly doesn’t do much, and appears slightly underdeveloped. We know he tells a killer story, but for a title character, who has the play named after him, he doesn’t really have the same presence and impact that Hamlet does. Othello is mainly known for being jealous, and although it is an interesting take on the emotion, it isn’t the greatest thing to be known for. Is there a particular reason that Shakespeare’s biggest black character is known for being a jealous wife killer? Is Shakespeare trying to make some sort of racist comment? That we will never know, but we can speculate.
Othello pretty much ends up playing second fiddle to the far more superior Iago, who is probably Shakespeare’s nastiest villain out there. But… that’s all there is to it really. He’s just a downright villain, slightly like Don John in ‘Much Ado About Nothing.’ He is interesting to read, but he’s just nasty, that’s it. I wouldn’t say he’s a three-dimensional character like Claudius from ‘Hamlet.’ His motivation is significantly underdeveloped, as he has a throwaway comment that he has a problem with Othello as he slept with his Mrs, Emilia. Iago’s actions are drastic, especially as they are based on a rumour. Coleridge swoops in to note this, declaring that the whole plot is based on ‘motiveless malignity.’ Coleridge is basically saying that Iago’s nastiness comes out of nowhere. When comparing Iago’s motives to the likes of Claudius, Richard III and Lady Macbeth, I’d back Coleridge any day. Also, Iago’s just very obsessed with sex. His motives are sex related, his plan to destroy Othello is based on Desdemona’s supposed sexual promiscuity. It’s all sex with Iago. He’s just a nasty sex obsessed man. And he also steals the show from Othello in Othello’s own play. That’s just rude.
Now I know women in Shakespeare don’t always have the easiest time, and apart from her sweet nature, Desdemona too is quite passive. She doesn’t even get a famous scene or line apart from her death scene. Lady Macbeth and Ophelia have some iconic lines and scenes, as does Beatrice, Juliet and the Nurse. Desdemona is just extremely kind, which although is endearing, it doesn’t make her that memorable. Her love for Othello is undoubtedly pure, as she loves him because of the stories he tells. Iago sours this due to his obsession with sex, and specifically Desdemona’s sex drive. Although she fights with her father and tries to reason with Othello, I can’t help but feel that she doesn’t stand out that much in comparison to Shakespeare’s other heroines.
Also, there’s that massive war that’s mentioned at the beginning, that the Turks are going to attack Cyprus, which is promptly dispensed with. It’s basically there to make Othello look like a hero, but apart from that, it just appears like a throwaway plot point. The Turks are destroyed by a storm, rendering them shipwrecked and very irrelevant. In Hamlet, the war is mentioned throughout, and comes full circle at the end of the play with the arrival and succession of Fortinbras, who serves as a foil to Hamlet and represents the rise of a stable kingdom. Fortinbras does all of this and only pops up twice in the play. I think that’s pretty good going. Iago’s hatred for Othello comes so out of nowhere that he probably could’ve tried to poison their marriage without any war with the Turks. It’s just that random.
The unsung hero of the play is by far Emilia, who fully dispenses with the patriarchy, her husband and all the passiveness that Shakespeare heroines are regularly accused of. I find her scene at the close of the play to be much more memorable than Desdemona and Othello’s dialogue. She becomes that strong female character that so many Shakespeare fans crave, despite her untimely death. Despite Iago’s underdeveloped motivations, to me, him and Emilia are much more memorable characters in the play, partly because they are both active agents who have pivotal roles within the plot.
In general, Othello is a great play on the surface, and there’s plenty of ‘marriage poisoned’ action to sink your teeth into. But when interrogating the characters, motivations and some of the plot points, it appears to slightly fall apart. Othello and Desdemona are supplanted as the most memorable characters by Iago and Emilia, the war with the Turks doesn’t really come to much, and if I were Othello, I’d be more jealous of characters like Hamlet and Claudius, who gain their iconic Shakespeare status for much more complex and intriguing reasons.
An analysis of Anne Boleyn’s portrayal in Hilary Mantel’s acclaimed novel, ‘Wolf Hall’!
Anne Boleyn is a central character in the book ‘Wolf Hall,’ by Hilary Mantel. Thomas Cromwell’s rise to power centred on the annulment of Henry VIII’s marriage to Catherine of Aragon, as Cromwell was proactive in speeding up the divorce, and ensuring the ‘Dissolution of the Monasteries’ throughout 1536. This gained him great favour with the King. Ultimately, without Anne Boleyn, Cromwell would not have risen to power and as the novel is largely told from his point of view, a different take on Anne Boleyn is created, which is a wholly negative one. Throughout the book she is presented largely as a villainess, and as a schemer intent on tearing the kingdom away from Christendom and becoming queen, much to the despair of those at court. It’s definitely one for the Catherine of Aragon fans.
In a conversation with George Cavendish, a biographer of Thomas Wolsey, Cromwell discusses Anne’s betrothal and previous relationship with Harry Percy. Cavendish proceeds to tell Cromwell that she did not actually love him. Cromwell asks whether she respected him, and Cavendish flatly tells Cromwell that “she didn’t. She liked his title.” These short, dramatic sentences suggest that Anne was only interested in Harry Percy for his status, as she wanted to elevate herself in the world. It presents her as a liar and villainess, as she pretends to love somebody to gain power and status. This also casts her as a bit of a femme fatale. The fact that other people react negatively to her also proves she is villainous, as there are not many people in the novel who show affection to Anne, such as her own sister, Mary.
Later on in the novel, Mary makes similar comments about her sister, warning Cromwell that Anne probably “has some ideas about what to make you.” This cryptic comment portrays Anne as villainous, as beforehand Mary tells Cromwell that Harry Percy has been turned into a “madman” by Anne. Although this is a negative portrayal of Anne, the comment about Cromwell does not insinuate any positive or negative feeling towards him, but as the comment about Harry Percy is made earlier, this quote is made to make Anne villainous, as again, she is using others for her own advantage. Anne’s villainy is emphasised as it is her own sister that informs Cromwell of her belief. As she is related to Anne it is surprising that Mary thinks so badly of her sister and this rejection reinforces Anne’s villainy in the novel.
It is clear that there is rivalry within the novel between Anne and Cromwell, probably because the book is written from Cromwell’s point of view. Mantel notes that nowadays, Anne Boleyn is an “ambiguous character,” as little is known about her. This serves as the reason as to why Anne is portrayed how she is, as she is viewed through the eyes of her adversary, Cromwell. From this we can learn that Anne is presented as a villainess due to Cromwell’s biased view, and therefore may be a victim to Cromwell’s own agenda and ulterior motives. As Mantel aimed to tell the story from Cromwell’s viewpoint, it would be in her interests to make him appear as a hero and as a likeable character, therefore making Anne Boleyn appear as a villainous character, although in history, it is usually Cromwell who is depicted this way. Hilary Mantel comments that she feels Cromwell sees Anne as a worthy opponent, believing that one must be destroyed before the other.
In a conversation with Thomas Wyatt, Cromwell describes Anne to be a “calculating being.” This gives the impression that Cromwell believes Anne uses others for her own purposes, and the use of the word ‘being’ insinuates that he does not view Anne as a human with emotion, but as an entity intent on destroying and using others. Anne really is taking hit after hit here… and it gets worse.
Cromwell believes Anne to have “hungry black eyes.” This imagery presents Anne as animalistic, implying that she will feast on anything or anyone. As food is needed for one’s energy, Anne can be compared to a bear who uses people, food, for her own elevation, energy. This imagery presents Anne largely as a parasite, one who is willing to ruthlessly use others for her own gain. This gives the impression that Anne’s desires are evil and dangerous, as she is willing to use others for her own ends, and metaphorically, devour them.
According to contemporary accounts, Anne Boleyn did have black eyes in reality. Paintings that date back to the 1500’s of Anne also support this description, like the above image headlining this article. We can see from the painting Anne is accurately described in Wolf Hall, as in reality she had dark eyes and hair. It is clear from this image that all fictional portrays of Anne have been largely based on this painting and others like it, and one could possibly infer that Anne’s portrayal in Wolf Hall could be as accurate in personality as she is in the painting.
Cromwell later proceeds to tell Wyatt that he believes Anne likes to “torment” others for her own sport. This presents Anne purely as villainous, as it is suggested she enjoys being cruel to others for her own amusement and pleasure. This seems odd to the reader, and makes Anne seem like a sadistic human being who enjoys other peoples’ pain, presenting her largely as a villain.
Later in the book Mary talks to Rochford about her sister, saying that for “Seven years she schemed to be queen.” The fact that Anne has planned this for seven years shows she is desperate for power and provides a reason as to why she is seen as calculating, as she has one ultimate goal, making her seem villainous.
However, Anne could be seen as a victim of Thomas Cromwell, as the book is written purely from his point of view. Anne could be seen in this way, because he feels threatened by her, knowing that her power is growing. It could be argued that he fears she will overthrow him, and hates her, presenting her as a villainous and horrible person, in order to persuade others to agree and rise against her.
It would seem that Anne is largely portrayed as a villain in Wolf Hall, and a figure who uses others for her own advantage. By constantly commenting on her scheming ways and using animalistic imagery, Mantel, through Cromwell, portrays Anne Boleyn as a villain to a large extent. It is worth noting that Mantel’s Anne is not infuenced by the times we now live in, but solely on the idea of Cromwell’s protagonism, prompting Mantel to think that Cromwell would have viewed Anne Boleyn as a significant threat.
Thanks for reading!
 Hilary Mantel, Wolf Hall (London, 4th Estate Books, 2009) p. 78.
To match with the chilly weather that we are getting this January I thought I’d write about one of the iciest characters out there, Estella from Charles Dickens’ ‘Great Expectations.’ Her reputation precedes her, and I for one can’t understand Pip’s infatuation with her… or people’s hatred of her. Yes, she is coarse, and haughty and horrible to Pip but by the end of the novel, in my opinion, she becomes the most rounded character still around, whose journey has had actual meaning and impact. I got so bored of all the other characters that Estella was the only reason I could keep reading, and here’s why.
Estella’s initial behaviour towards Pip throws a narrative hook to the audience, as for quite some time we are asking ourselves why she is such an annoying little thing. Her behaviour is enthralling to Pip, and his motivation to become a gentleman stems from his, slightly annoying, obsession with her. Without her, there really is no story, as although she isn’t the physical money, she is the reason as to why Pip wants, and uses the money. It also presents, what the audience think will be, the greatest love story ever. It would probably send Shakespeare spinning in his grave, crying that his ‘The Taming of the Shrew’ had been nicked by Dickens. She’s also the cause of Pip becoming an unlikeable character, as a lot of the time, he considers what Estella would do, or what she would think, prompting his disapproval towards other characters like the boringly kind Joe. She may not influence every single character, but she influences the most important – Pip. That’s enough to cement her importance in the novel and Dickens canon, no matter how many people dislike her.
So, upon her introduction, Estella throws out certain signals to the reader and the characters. She propels the story forward as she gives Pip the motivation to become a gentleman, and wills the reader to stick with her, in the hope that she becomes a bit nicer, and in the hope that her and Pip run off into the sunset together. I am making the assumption now that everyone wants Pip and Estella to get together, and I think from the offset people just assume that it is going to happen… what makes her such a great character, and in my opinion the best in the novel, is that of course, this doesn’t happen. But more on that later.
Estella’s character development builds throughout the novel but isn’t stretched out enough to deter us from being interested. It becomes clear that, as Pip is the plaything of Estella, Estella is the plaything of Miss Havisham. Personally, I wouldn’t like the idea of living with a jilted psycho lady who should be in one of those McDonald’s ‘like getting your money’s worth?’ adverts… as she’s always in her wedding dress. In her later life she plucks up the courage to tell Havisham that she is the cause of her coldness, and the reason she cannot love. Estella has been conditioned this way, and has been forced to dispel one of humanities’ greatest instincts – to love and to be loved. She’s really a tragic heroine. We see that here:
“You stock and stone!” exclaimed Miss Havisham. “You cold, cold heart!”
“What?” said Estella, preserving her attitude of indifference as she leaned against the great chimney-piece and only moving her eyes; “do you reproach me for being cold? You?”
“Are you not?” was the fierce retort.
“You should know,” said Estella. “I am what you have made me. Take all the praise, take all the blame; take all the success, take all the failure; in short, take me.”
Some critics think that we never truly get to know Estella, but she never really knows herself. A whole part of her, her ability to love, and be loved, is shut down by Havisham very early on in her life, and in Victorian society, there isn’t much else for a woman to do. Nobody can control someone else’s ability to love, we choose who we love and we ourselves are aware of it. Estella has this taken away from her, probably before she could even walk. For a character who has a whole part of her identity taken away from her before she understands it, I argue that we get to know Estella pretty well, and that she oozes with tragic complexity. Havisham has literally stolen Estella’s ability to love, and Estella is rightly mad about it. It’s here that we understand her, as she isn’t cruel to Pip as she is cruel herself but is cruel to him because she knows no different. She doesn’t have the capacity to be kind, and we can see that it greatly upsets her.
Estella also provides a real ‘EastEnders’ ‘duff duff’ moment, with the revelation that she is the daughter of Magwitch. The character provides a great dramatic revelation, one that drums home the main theme of the novel, subverted expectations. The haughtiest character in the novel is brought down to Earth by her paternity, which levels all the characters. No one is fully pure, no one’s status is fully preserved, there is social mobility and every character represents this in some respect. Estella’s ‘fall from grace’ is particularly notable, as she goes from one extreme to the other. She goes from being the most uppity little missy out there, to being the daughter of the lowest of the low. Dickens knows how to pack a punch.
Her abusive marriage to Bentley Drummle brings her to the end of her character arc, and this abuse, unfortunately, is what she needs. She has been moulded by Miss Havisham, and her suffering at Drummle’s hands breaks this mould. She now can start afresh, as she has had an emotional, traumatic experience that she can reflect on, and learn from. This experience makes her more vulnerable, and probably more empathetic. It is unclear what this abuse specifically is, but it obviously adds a dimension to what she has already suffered at Havisham’s hands, meaning this has shaken her up that bit more. Be it physical or verbal, it serves as proof that someone so brainwashed needs a significant experience to be roused from such a state, and clearly marriage to Mr Drummle is enough to compel Estella to change. In comparison, majority of the other characters just fade away, or conveniently die.
It’s so right that Pip and Estella don’t end up together, as if they did, her character development would have been hurried along in a fairly unnatural fashion. Estella isn’t ready to love after her marriage to Drummle, and it makes sense that Dickens left the ending ambiguous. We don’t know whether they get together, and it would be nice for them to in the future, but it wouldn’t make sense for Estella to be with Pip at the end of the novel. She is still discovering herself and how to love, and Dickens made the right in decision not to rush this huge development in the last few pages.
In comparison, Pip pretty much lands back at square one, having squandered all of his money. Sure, he learns things, but there’s not a lot of implication that he will grow, learn and develop. Estella will, and its right that this happens off the page, as she is now free from the grasp of Miss Havisham, and the grasp of Dickens’ pen.
 Charles Dickens, Great Expectations, (London, Penguin Clothbound Classics, 2008), Chapter 38.
Searching for the Gothic in Dickens’ Christmas classic!
‘A Christmas Carol’ is a classic Christmas story, as it encompasses all that should be at the heart of Christmas. Love, joy, family… and a prize turkey that can feed the five thousand. It also gives us the lesson that people can change and that sometimes they should, in a quick hit of one hundred and seventeen pages… depending on your edition.
This happiness however doesn’t come about on its own, and is only really facilitated by Scrooge’s conversion, which in turn is only facilitated by the appearance of the three Ghosts… four if you count Marley.
If we want to find the Gothic in the novel, we should start with Dickens’ finest creation. Scrooge! He kind of fits into the archetypal Gothic patriarch mould, a figure that is tyrannical, uncompromising and relentless. We get this from Manfred, in ‘The Castle of Otranto,’ and the Marquis in ‘A Sicilian Romance.’ He squeezes all the money he can out of everyone he can, he seeks to control Bob Cratchit, refusing to let him put more coal on the fire, and is unforgiving towards the plight of all the poor and needy, thinking they should pop their clogs to ‘decrease the surplus population.’ What a nice man.
Trying not to be rude to the man but let’s be real here – he is bloody scary looking:
“The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out shrewdly in his grating voice.”
There is an obvious harshness to his appearance, with the ‘pointed’ nose, and his ‘grating’ voice. ‘Grating’ brings up ideas of ‘scratching’ and ‘grinding,’ and you don’t really want to hear those kinds of tones at Christmas. He really he sounds like a dead man walking, especially as his lips are turning ‘blue.’ Fun fact, having blue lips is called cyanosis, which is induced by extremely cold temperatures or a lack of oxygen in the blood. A lack of oxygen would definitely result in death. His appearance perhaps doesn’t resemble the classic Gothic patriarchs I listed above, but his appearance is terrifying, and considering the Gothic is supposed to be antithetical to the civilised, Enlightened world, we can definitely place the haggard character in that category.
The Ghosts fit in well with this too, especially Marley’s and the Ghost of Christmas Future. It is the ‘otherness’ of the Ghosts that make them Gothic, as well as their ability to transcend the physical world and laws of nature.
With Marley especially there is the conflict between the living and the dead, and the physical and the ethereal. Dickens immediately messes with our minds, saying the ‘Marley was dead: to begin with.’ As a reader we are all screaming that once you’re dead, you’re dead – that’s the end, not the beginning. This brings out the supernatural element, establishing it early within the narrative. Marley’s ability to shapeshift is Gothic too, although perhaps not in the classic sense. Traditionally, the shapeshifting of Gothic characters links into their ability to change their character, like Catherine Earnshaw to Catherine Linton in ‘Wuthering Heights.’ Marley physically changes into the doorknocker, which is a fairly potent and distressing image, which showcases his physical shapeshifting abilities.
Marley’s ghost can also link closer to ideas about bodily monstrosity and body horror, as he is quite literally, falling apart. Every director makes a meal of Marley’s runaway jaw. It is a great moment. The presence of his chains is also confusing, as he is not a physical being, yet he is held down by physical chains. It is a Gothic image of confinement and restraint, as his body and mind are confined, he cannot be fully free. The irony of course is that he is constrained by his own heinous crimes. It is a classic trope in the Gothic genre to be refined and constrained, stopping full expression of the soul… again, I reference Catherine Earnshaw and Catherine Linton.
The Ghost of Christmas Yet to Come is also a very Gothic image, as there is the element of the unknown and the element of mystery. We literally cannot see who, or what, is there. It is therefore something we cannot understand, which again, ties nicely in with the Gothic genre. It is not a heteronormative being, it’s form cannot be understood by Scrooge, making it appear as a classic example of the ‘other.’ Its main function is to tell Scrooge that he is going to die, and to show him his fate. There is an obvious darkness to this, and the idea that in that moment, Scrooge is doomed. This too is a Gothic element, the foreshadowing idea of death, and the idea that meeting our maker cannot be avoided and is inevitable. Scrooge can put it off by turning into Father Christmas, but he can never truly avoid it.
Away from the physical appearances of the characters, we could even say that the novel is Gothic as it looks at the darker side of humanity. Scrooge is everything that he wouldn’t want someone to be, cruel, pessimistic, tyrannical… I could go on. The Gothic genre frequently looks at humanity and explores their darkest desires, such as Ambrosio’s lust in ‘The Monk.’ Scrooge’s desire perhaps isn’t that seedy, as he purely desires money. However, like Ambrosio, this desire pushes him to do bad things, and alienate all of those around him. Dickens pays attention to Scrooge’s desires that disrupt those around him for the worse, a trope that the Gothic genre frequently employs.
Scrooge really provides an anatomy of the human psyche, as we witness his conversion from miser to merry man. Here he appears to depart from the classic Gothic villains, who don’t get the chance to convert or change… as most of them all die. Again, Scrooge exhibits the Gothic trope of shapeshifting, much like Marley before him, as his character jumps from one end of the spectrum to the other. Proof that with a little help from some Gothic ghouls, everyone can embody the true spirit of Christmas.
Merry Christmas and a Happy New Year!
Thanks for reading!
 Charles Dickens, A Christmas Carol (London, Penguin Classics Read Red, 2007) p. 10.
3 iconic figures. 3 historians. A guide to the ending of one of the most dramatic marriages in British history – who was responsible?…
The controversial union of Henry VIII and Anne Boleyn in January 1536 led to the break with Rome, and the formation of the Church of England. Their marriage ended with Anne’s execution in May 1536. Historians have disagreed over who was responsible for her demise, and have noted that Anne herself, Henry and Thomas Cromwell were the most important figures in the events that occurred in 1536. When defining the word ‘responsible’ one most consider the people that it is being applied to. If Anne were responsible for her own fall, as Bernard argues, one must take from this that she was guilty of adultery, and therefore deserved to be executed. For Cromwell and Henry, the term ‘responsible’ explains their role in her downfall and subsequent death. David Starkey argues that Henry initiated her demise, making him responsible. As it was Cromwell who crafted the trial of Anne, ensuring that she would not survive the ordeal, he is the most responsible figure for her downfall, as argued by Tracy Borman, making her theories the most convincing.
Borman credibly argues that Thomas Cromwell, who she defines as Anne’s “greatest adversary,” was the most responsible for her sudden demise. Both Anne and Cromwell were reformers, and the religious changes that Cromwell made to England enhanced his power, as First Minister, as well as Anne’s presence within the Church of England, as both could easily influence Henry. To understand Borman’s argument, one must look at the reasons as to why Cromwell may have wanted rid of Anne. Borman’s strong argument rests on the idea that Anne and Cromwell were caught in a bitter power struggle, peaking in early 1536. This idea can be given credence when examining the controversial sermon delivered by John Skip, Anne’s almoner on the 2nd April 1536. Skip spoke of the “evil counsellor” Haman, the greedy enemy of Queen Esther in the New Testament, who persecuted Jews, and placed their riches into the royal treasury. Through her almoner, Anne attempted to expose Cromwell’s avarice to the entire congregation, and paint herself as the heroic Queen Esther, who would save the clergy. The insinuation that Cromwell was the greedy counsellor provides evidence of the conflict between Anne and Cromwell, which had been escalating for several months, therefore making Borman’s ideas highly valuable. Both had previously argued over what the money extorted from the clergy should be used for, with Anne arguing that it should be put to “better use,” meaning education. According to Eustace Chapuys, the Spanish ambassador, Anne even threatened Cromwell saying that she would “like to see his head off his shoulders.” This thought would have only crossed Anne’s mind if Cromwell and herself were caught in conflict with one another. By evidencing that there was a power struggle between the two figures, it is conceivable to think that Cromwell was indeed an enemy of Anne. This provides significant reasons as to why Cromwell was the most responsible for Anne’s downfall, therefore making the opinions of Borman highly valid and credible.
Borman has already established reasons explaining why Cromwell may have plotted Anne’s downfall, and to further support these assertions examines his involvement in the events that followed, cementing her valid theory that Cromwell was the most responsible for Anne’s fall, as he crafted and shaped the events that led to her death, beginning with an altercation he had with Henry. Cromwell proposed an alliance with the pope to Henry, but he refused. This displayed Henry’s loyalty to Anne, who had previously threatened to have him killed. Borman notes that Chapuys believed that Cromwell began plotting the fall of Anne because of his humiliation at the hands of Henry. Cromwell retreated to his house in Stepney, searching for “incontrovertible proof that Anne was a traitor.” This makes Cromwell appear to be the most responsible for Anne’s fall, as he is undertaking the task of planning it, cementing the valuable opinion of Borman. Cromwell writes to Chapuys, stating that he “set himself to devise and conspire the affair” of Anne’s downfall, which, in the light of their political conflict, which is well justified, would benefit Cromwell greatly. This builds on Borman’s convincing assertion that Cromwell was solely responsible for Anne’s fall, due to the conflict between the two. Borman argues that this evidence makes Cromwell the most responsible for Anne’s fall, as he confessed that he planned it. This makes him directly responsible for the events of 1536, as Anne’s imprisonment, trial and execution were of his own design, therefore making Borman’s views highly valuable.
When finding evidence for Cromwell’s involvement in organising Anne’s fall, Borman cites the evidence provided by Mark Smeaton, after his arrest on the 30th April 1536. It is believed that Smeaton, according to contemporary George Constantine, was racked in order to ensure a confession of guilt. Borman uses this to support her credible argument, that Cromwell was the most responsible for Anne’s fall, as he only needed one guilty confession to condemn her, and as the punishment for adultery was death, kill her. The arrest of Will Brereton, on the 4th May 1536, is used by Borman to further support her argument that Cromwell was the most responsible for the fall of Anne. Brereton managed churches in Cheshire and had previously blocked Cromwell’s reforms. Oddly he was not in Anne’s circle, making him an unlikely person to have committed adultery with her. Removing Brereton would further Cromwell’s cause, in getting rid of his rival at court and pushing his religious reforms in the north. Borman uses this evidence to justly support the idea that Cromwell was the sole architect of Anne’s fall, and that he was in complete control, making him the most responsible for it. His control is explained through the forced confession of Smeaton, and his condemning of Will Brereton, who would allow him to tighten his religious grip on the north, if he were got rid of.
Cromwell’s involvement in Anne’s fall, and his wish to destroy her, is also conveyed by his choice of jurors, which sealed Anne’s fate. By placing her enemies, such as Suffolk and Norfolk on the jury, Cromwell ensured that Anne would not escape the trial alive, which suited his political needs. The evidence above, validly argued by Borman asserts the notion that Cromwell was in a power struggle with Anne, and then planned her downfall, making him solely responsible for it. Therefore, Borman’s views can be seen as highly valuable when assessing who was the most responsible for Anne’s fall, as by claiming Cromwell’s guilt, and evidencing Skip’s sermon, one can clearly see why Cromwell would want to be rid of Anne, as they were caught in a power struggle. The letters of Chapuys, and the arrests of Smeaton and Brereton also support the idea that Cromwell was the most responsible for the fall of Anne, as he himself planned her arrest and trial, which he knew would lead to her execution, therefore making the views of Borman highly convincing.
David Starkey disagrees with the views of Borman, arguing that Henry was the most responsible figure for Anne’s fall, as he was responsible for the decisions that led to her investigation and arrest. Starkey writes Henry was the most responsible for Anne’s downfall as it was he who instructed Cromwell to investigate “certain causes of treason” against Anne, and with this signal, Cromwell put together a case that would certainly see Anne fall. Starkey argues that without Henry’s agreement, Cromwell would not have acted, therefore making Henry the most responsible for the fall of Anne, as it was he who gave Cromwell the authority to investigate her. Anne was investigated in the “profoundest secrecy,” and as Cromwell would not have acted without the permission of Henry, Starkey argues that this makes him the most responsible for the fall of his wife. Although this signing of the “commission” can be recognised as Henry making his formal decision to move against Anne, Starkey argues that his decision was made the day before, and can be seen in his behaviour to her brother George. Although Starkey mentions that Henry “vacillated,” he revealed his hostilities towards his wife by announcing that “Sir Nicholas Carew, the Queen’s Chief antagonist, had been elected a Knight of the Garter, in preference to her brother, George, Lord Rochford” on the “23rd April 1536.” From this act it can be inferred that the Boleyn’s were quickly losing favour and status within the Tudor court. Starkey uses this to provide evidence of Henry’s guilt, as the decisions concerning the fate of Anne’s family and herself came from Henry. Starkey highlights the significance of this event, explaining that “to exclude Rochford was an acute public rebuff.” By citing this action Starkey argues that this shows Anne’s decreasing favour, and Henry’s decision to allow others, like Cromwell, to plot the demise of his wife. As Henry acts as the puppet master, and Cromwell as the puppet in this scenario, Starkey argues that Henry is the most responsible for the demise of Anne, as it was ultimately his decision to launch the investigation against her. In order to understand this further, one must examine Henry’s motives and why he may have wanted rid of his current queen.
An event on the 29th of January could explain Henry’s growing dislike for his wife, giving him cause to authorise her downfall. On the day of Catherine of Aragon’s burial, Anne miscarried of a male child. Chapuys notes that she “miscarried of her saviour,” as this baby would’ve been the son and heir that Henry had craved so desperately for. Historians believe this to be the catalyst of her downfall, and a source of tension between the couple, as Anne herself was blamed for her inability to provide a male heir. Retha M Warnicke notes the growing intensity of the situation upon Nicholas Sanders’ revelation that Anne gave birth to a “shapeless mass of flesh.” During this time, such a child insinuated gross sexual adultery on Anne’s part, which harmed Henry’s honour. Henry is frequently portrayed as a patriarchal, dominant figure as he was obsessed with masculinity. Having a wife with a greater sexual appetite than him, as the deformed baby suggested, did not reflect well on him. When discussing whether Henry was responsible for Anne’s fall, it can be argued that this incident would have motivated him to organise an investigation against her. This event put Henry’s reputation at stake, and also Anne’s. Therefore, due to the implications of such a child, one can understand why Henry would show growing dislike towards his wife and her family. This particular event explains why Henry might have been motivated to move against his wife as argued by Starkey.
Anne’s relationship with Henry, according to contemporaries like Chapuys, was a tumultuous one, as the pair were “changeable” and prone to “lovers quarrels,” further explaining why Henry may have wanted rid of his second queen. Anne’s “abrasive” attitude was becoming increasingly “intolerable to her husband,” and provides another reason as to why Henry may have wanted rid of her, upon the entrance of Jane Seymour. Seymour’s character was the opposite to that of Anne’s, and appeared to be much more obedient. When sending Seymour a purse of money and a letter in April 1536, she returned it unopened, stating that there “was no treasure in the world that she valued as much as her honour,” and that she would wait for some “advantageous marriage.” This chaste action drew Henry to Jane Seymour further, and in the light of Anne’s miscarriage, and her overall attitude, one could speculate that Henry wanted rid of Anne so that he could marry Seymour. Anne was well aware of this flirtation, and it would have caused more arguments between herself and her husband. Anne once again used her almoner, John Skip to tell the story of Solomon, who lost “true nobility towards the end of his life by sensual and carnal appetites.” This is read by historians, like Borman, as an attempt by Anne to steer Henry away from Seymour, action no doubt that would’ve caused further tension for the couple. With the increased strain placed on their marriage because of this, as well as Anne’s miscarriage four months previously, one can easily see why Henry would be motivated to plot the downfall of his wife. After a painful ulcer that Henry acquired in a jousting accident in early 1536, he became irascible and intolerant towards Anne’s behaviour, further supporting Starkey’s idea that he was the most responsible for her fall due to this reason.
As Henry was the King of England, one could argue that he was the most responsible for the downfall of his wife. Although it is well documented, by historians such as Starkey, that it was Henry’s decision to move against his wife, it was Cromwell who carried this action out and formed a case against her. He was responsible for the case built against Anne, and although Henry commissioned it, the blame must still lie with Cromwell, as it was he who crafted Anne’s demise ensuring that she would not make it out alive. This makes the view of Borman, that Cromwell was the most responsible for the fall of Anne, the most convincing, and it therefore discredits that of Starkey’s. Starkey notes that Henry favoured Cromwell’s plan, as “the great advantage of this method was that it killed Anne.” This insinuated that the events of Anne’s downfall were not defined by Henry, but by Cromwell, making him directly responsible for her death, as it was he who planned her trial in such a way, ensuring that she would die. This can be seen in Cromwell’s choosing of the jurors. This ensured the fall of Anne, with the permission of the King. This shows that Borman’s theories are more convincing than that of Starkey’s. Although Henry’s role is of great importance, as well as the events leading up to May 1536, it is still the role of Cromwell, and the views of Borman that must be noted as the most important, making him the most responsible figure when looking at the fall of Anne, in comparison to Henry.
GW Bernard argues that Anne herself was the most responsible figure for her fall, a view that it somewhat rare. It must be noted that in Anne’s case, ‘responsible’ would mean that she was guilty as charged. If she were guilty of adultery, and plotting the death of the King, then she would be responsible for her own fall, as she gave the law the opportunity to condemn her, through the fault of her own actions. When discussing whether she was the most responsible for her downfall, one must ask whether she was guilty of adultery, as if she were, the law had just cause for judging and sentencing her to death. GW Bernard argues that Anne was guilty of adultery, making her the most responsible figure for her fall. When examining this theory, one must debate whether Anne was guilty of adultery, whether Smeaton’s confession was genuine and examine the words of Anne Boleyn herself.
Bernard states that Anne was the most responsible for her fall as she was adulterous. Rumours of Anne’s alleged adultery came from her lady in waiting, Lady Worcester. In a conversation with another courtier, about her own promiscuous conduct, Worcester argued that the queen was at “much higher fault” and that she entertained men late at night within her chamber. GW Bernard cites this incident in his case against Anne, stating that as a lady in waiting, she “would have been aware of it, indeed might have been complicit” with any adulterous acts. Bernard therefore gives credibility to the source, leading him to believe that this is enough proof of Anne’s infidelities, making her the most responsible for her fall, as she was guilty of adultery. This would make her absolutely responsible for her downfall, as she was judged fairly by the standards of the time. This accusation would have fitted well with the contemporary perception of Anne. Borman notes that the Treason Act of 1534 said that slandering the royal marriage was treason, implying that belief that Anne was promiscuous was common.
Bernard also cites the confession of Mark Smeaton as sufficient evidence for Anne’s guilt and uses it to explain why Anne was the most responsible figure for her fall. Bernard notes that torture was rarely used in Henry’s England, and that Smeaton never withdrew his confession. Bernard therefore argues that we can only assume that this means Smeaton, and therefore Anne, were guilty of adultery. Bernard does not find enough evidence to exonerate Anne, stating that she probably was “guilty of at least some of the adulteries of which she was accused.” Again, if all historians were to agree with Bernard, they would be condemning Anne in declaring that she was guilty with what she was charged with. On the scaffold at his execution, Smeaton conveniently proclaimed that he “deserved the death.” When discussing why Anne may have been promiscuous, Bernard even goes so far to speculate that she did so in numerous attempts to become pregnant. If one were to use this evidence against Anne, one would question why Smeaton never withdrew his confession. Bernard argues that, as torture was rarely used in Henry’s England, Smeaton confessed his guilt without force, meaning that there must be some truth in it, as well as the allegations made against Anne.
Anne’s own conduct was key to the turn of events, especially her conversation with Henry Norris in April 1536, which made her highly responsible for her own downfall. This conversation was used against her in court, and made her appear guilty of adultery and treason. Anne declared to Norris that he looked “for dead men’s shoes, for if aught came to the king but good, you would look to have me.” Anne is telling Norris that if the King should die, he would look to marry her. Anne was now accused of imagining the death of the King. This accusation of treason also made Anne looked increasingly guilty of adultery, with Henry Norris. Although one cannot provide a definitive answer for Anne’s adultery, this conversation is well documented, and proves that Anne’s own conduct did not aid her case. The Treason Act of 1534 had declared that imagining the death of the King was treason, and although Anne wasn’t planning to murder Henry, her allusion to his passing, was enough for the jury to condemn her, making her the most responsible figure for her downfall as stated by Bernard.
When evaluating Bernard, and proving the credibility of Borman’s theories about Cromwell, one must assess whether Anne was guilty of adultery or not. If she were, this would make her responsible for her own downfall, as she would have been treated fairly by the standards of Tudor England. As it would be her own conduct that led to her downfall, she would be the most responsible figure for it. If one can use Borman’s theories to exonerate her, this maintains that Anne herself was not the most responsible for her fall, but that Cromwell was. Borman’s views on Smeaton have already been explored, as she argues that Cromwell tortured him. In doing this he would procure a confession, as one was all that he needed to ensure Anne’s death, as this was the punishment for adultery. He would ensure her death by accusing her of adultery with Smeaton, and by placing her enemies, Suffolk and Norfolk, on the jury. Borman proves Anne was innocent of adultery by citing the evidence. She points out that Smeaton could not “have had sex with Anne at Greenwich on the 13th of May,” as she was in “Richmond on that day.” This, and other incidences like it prove that Anne was not guilty of adultery, and that she was therefore not responsible for her own fall. Borman convincingly notes, “on at least two of the four dates cited for Anne’s adulterous relations with Brereton, she had not been in the location claimed.” This immediately discredits Bernard’s theories, and gives greater credence to Borman’s stronger theories that it was Cromwell who fabricated the trial that led to Anne Boleyn’s death. The lack of evidence supporting the adultery between Anne Boleyn and William Brereton strengthens Borman’s theory that Cromwell invented it, as Brereton was blocking Cromwell’s religious reforms in the north.
Chapuys also reported that, in her last confession, Anne swore on the “damnation of her soul, that she had never been unfaithful to the King.” In a deeply religious age, it is difficult for one to believe that Anne would have lied right before she was about to die, and allegedly meet God. This leads historians, like Borman to believe that Anne was innocent of the charges. In order to discredit Bernard, his use of speculation must be criticised. There is no substantial evidence to suggest that Anne was guilty of adultery, or that her desperation for an heir would have pushed her to commit adultery. Within his theory, Bernard speculates the two, despite the compelling and convincing evidence that has been put forward by Borman, which affirms Anne’s innocence. This makes Bernard’s claims that she may have been guilty, are puzzling because of this, and appear to be founded in only in speculation. This makes Anne Boleyn the least responsible figure for her fall, unlike Thomas Cromwell who crafted, and accelerated, her downfall and subsequent death. This therefore makes the views of Borman highly valuable.
In conclusion, Thomas Cromwell must be seen as the most responsible figure for the downfall of Anne Boleyn. Although it was Henry who allowed the investigation to occur, it was Cromwell who orchestrated and organised the entire investigation, ensuring that the jury, despite the inconsistent evidence, would find her guilty. Borman has convincingly cited Cromwell’s own words to Chapuys to support this idea, and has also picked up finer details like the abnormal arrest of William Brereton, and the dubious circumstances under which Mark Smeaton’s confession was procured. Borman validly explains that Cromwell undertook this challenge due to the ensuing political conflict between himself and Anne, and in accelerating her downfall; one can see that Cromwell was prioritising his own security. Such a skilful investigation can only be attributed to Thomas Cromwell, and because of this the fall of Anne Boleyn can be seen as his greatest “triumph.”
Thanks for reading!
 Borman, T. (2015) Thomas Cromwell: The untold story of Henry VIII’s most faithful servant, UK – 1st edn. Hodder and Stoughton (pg. 230)
Note: This article will probably make more sense if you have read the novel, and contains spoilers!
Some thoughts on Hardy’s use of colour in the aforementioned novel, based on my first reading of it!
Thomas Hardy is one of those writers who really paints a picture. He does so using exuberant imagery, and he pays particular attention to colour. ‘Tess of the D’Urbervilles’ was my first brush with Hardy and my above points are what stuck out to me most in his work. His use of colour is so pronounced in ‘Tess of the D’Urbervilles’ that the reader can pretty much predict the story of the heroine from her first introduction. The common colours associated with the character of Tess are red and white, which tell us a great deal. Here’s the piece of text we are going to work with:
“A young member of
the band turned her head at the exclamation. She was a fine and handsome girl –
not handsomer than some others, possibly – but her mobile peony mouth and large
innocent eyes added eloquence to colour and shape. She wore a red ribbon in her
hair, and was the only one of the white company who could boast such a
Tess is introduced in chapter two, as a “fine and handsome
amongst a crowd of other girls wearing white at the May Day dance. It should be
noted that her youthful nature and naïveté are highlighted by her “large
eyes, which act as red flags to the reader, as young, innocent girls are
frequently taken advantage of. This fear is heightened further, due to her
unique beauty, as beauty equals desirability. What Hardy is saying here, is
that we have a beautiful, innocent woman, who is likely to attract the
attention of several men, that this is dangerous. Those who have read the novel
will know that this is definitely true. Another aspect that makes Tess stand
out is a red ribbon running through her hair, deemed as a “pronounced
can’t she have a red sash around her waist instead of a ribbon in her hair?
Probably because hair is associated with sex and beauty. Here the use of colour
comes into play, as we have the contrast of red and white, which Hardy uses to
discuss the central theme in the novel, which we will get onto later.
Hardy’s frequent juxtaposition of the colours of red and
white strikingly allude to Freud’s ‘Madonna-Whore complex,’ the idea that a
woman has one core persona, either the chaste virgin, or the promiscuous whore.
As you probably guessed, white is associated with purity and virginity, and red
is associated with lust, sex and promiscuity, follow the footnote for more on
and this next one for my thoughts on Freud’s concept in Gothic literature! It
is worth remembering that Freud’s idea developed in the early 1900s, after
Hardy’s novel was published, so Hardy did not write ‘Tess’ with the complex in
mind, but it can still be applied retrospectively.
The immediate contrast of these colours that collide on
Tess’ physical person tell the reader that these two personas will dominate her
life, and how she is viewed by those around her.
Let’s break this down further. Imagine a wedding dress with
a splash of red paint on it. One would describe it as ‘tainted,’ or ‘stained.’
To me, by adding the splash of red in the form of the ribbon against the white
dress, Hardy is telling the reader that Tess’s virginal image, which we get
from the colour white, will be tainted by some sort of sexual scandal. I’m
getting all of this from the colours, backed up by my own knowledge of Freud’s
theory. What will be the result of such a sexual scandal? Hardy also pays
attention to the countryside in the novel, emphasising the presence of the
colour green. Green is associated with nature, fertility and childbirth… see
where this could go? This observation is further validated by Hardy’s specific
note that the May Day festivities are occurring, a time of year that celebrates
new birth and fertility. Green also throws in a hint of jealousy too, which
becomes relevant when Tess has to contend with the men in her life.
The use of these two colours, and these two personas, brings
us to the biggest question in the novel – what persona does Tess fall into? Madonna
or Whore? It’s up to the reader to decide, but the point of the novel, in my
opinion, is to argue that she is not just one set ideal, as Angel discovers, she
is not one set woman, but a multifaceted character… that being said Hardy
argues for her purity in the subtitle of the novel: ‘a pure woman faithfully
really Hardy is saying that she is the pure virginal figure… even though she is
not a virgin literally as she is raped by Alec… but is metaphorically as she
did not consent? See what I mean? This is the central contention in the novel,
and I do think this particular question is timeless. The themes within the
novel explain why Hardy had trouble publishing ‘Tess’ in the Victorian era as
censors frequently got in his way. It also demonstrates how Freud’s idea
doesn’t really fit in with the idea of a modern, 21st century woman,
explaining our different reaction to the novel. I’ve not yet encountered a
person, or source, that places the blame on Tess, but to a Victorian audience,
the above debate would have been more heated. Hardy previews Tess’s story, and
this central idea through his deft use of the colours of red and white during
her first introduction.
So, from her introductory paragraph, I ascertained that the
young, innocent Tess will be embroiled in some sort of sexual scandal, that
will call into question her purity and chastity. This is signalled by her
physical description, and particularly Hardy’s use of colour, which invokes
Freud’s infamous ‘Madonna-Whore complex.’ There is also the idea that a child
will be on the horizon, based on the presence of the colour green and the time
of year, which is frequently associated with fertility. Guess what? My
prediction was pretty much spot on. The colours also feature throughout the
novel in other forms, such as red in the form of blood, white in the form of
milk, and the two colours collide at the end of the novel again when Tess
murders Alec. The colours of red and white are always present for significant
plot developments within the novel, as the central question that they represent
drives the narrative forward.
I guess this post doubles as a close analysis exercise, as
all these observations stem from one paragraph, particularly a couple of
sentences within said paragraph.
Thanks for reading!
Hardy, Tess of the D’Urbervilles (London, Penguin Classics, 2003) p. 14.