Masculinity in Great Expectations

Masculinity in large(p) ExpectationsLate straightlaced Masculinities atomic number 18 bound up with discourses of evolution and esthetics. snap this tilt in relation to Charles daemon immense expectations and Oscar Wildes The depiction ofDorian colouriseThis essay go away try to assess the validity of the abovestatement using the texts stated, and excessively referring to equaling dilettanteism onthe subject. In answering the question, I shall break the statement into twosections. Firstly, I get out discuss maleness in Great Expectations inrelation to evolution, aspect at Pips transition from humble beginnings to a more(prenominal) flamboyant existence, and how this fits in with Darwins scheme ofevolution. As well as this, I will look at how masculinity is represented in some(prenominal) of the other characters, and lastly to what extent Pips bread and butter story cantruly be said to be an evolution.Next, I will discuss masculinityin The Picture of Dorian Gray in r elation to aesthetics. This ruin ofthe essay will localise on how the faceings of masculinity in the fresh fit inwith the subject of artifice for arts sake, promoted by followers of the aesthetic diement. In particular I will examine the identity of the eponymous hero, whoembodies much of the aesthetic ideal. There will also be a consideration of theunderlying theme of homosexuality and how some criticism has suggested that theaesthetes used such themes in order to illustrate their take in ideas aboutidentity and masculinity. I will then consider to what extent aesthetics atomic number 18part of the theatrical per put to workance of masculinity in the novel.Masculinity in Great Expectations doescertainly intertwine with the idea of evolution. Pip is in many ways thearchetypal bildungsroman, progressing from a simple interior(prenominal) life in ruralKent, to London and fortune (although his destructioning does represent a variation onthis concept). His masculinity is dev eloped along the way. In earlier chapters,he is governed by and large by fear, as in the readers first encounter with Mrs.Joe, in which he is informed that he is in trouble. At this dismal intelligence,Ilooked disconsolately at the fire. Tickler was a wax-ended piece of cane.Contrast this with his behaviour later on in the book, after he has begun to collide with his way in the conception Being on one occasion threatened with legal proceedingsI went so far as to seize the Avenger by his blue tweak and shake him off his feet. By comparisons such as this, we can happen a correlation among the kind of personal evolution, common to the blue(a) novel, undergone by Pip, and an increase in perceived masculine traits, such as dominance and somatic aggression.However, underneath this, there is perhaps amore scientific form of evolution under discussion. No novel exists in avacuum, and being produce in 1861, Great Expectations Darwinsgroundbreaking Origin of Species by only two years . Darwin mentions theStruggle for Existence, in which all life strives to be achievementful,identifies some key factors in this success. I should premise that I use theterm struggle for existence in a large and metaphorical sense, includingdependence of one being on a nonher, and including, which is more important, nononly the life of the individual but the success in leaving progeny.Pips struggle is intelligibly dependent on others, for example Magwitch, his benefactor, and it is ultimately Joe who helps him in his time of need. Interestingly, however, he does not have an heir. Indeed, in the original ending, Pip notes in an unmistakably gloomy tone Estellas reaction to Little Pip, She supposed the baby bird, I think, to be my child. In this sense, Pips evolution can be overtaken to be in realized. But what does this remember with regard to masculinity?It is interesting to note that masculinity in GreatExpectations is not limited to the male characters. One example of this i sMrs. Joe, who, as one critic notes, wore the pants in the household, sequence Joeserves as an effete and effeminate child like figure.Since Joessimple character evolves slight than Pip, this might be seen as qualified in withDarwin, but, as has already been mentioned, Joe achieves the ultimate inevolution leaving progeny while Pip does not. Similarly, Mrs Havisham isgiven a somewhat masculine-tinted description her voice had dropped, so thatshe mouth low, and yet she is arguably the most static characterin the book, being unable to move beyond the trauma of her past. In the lightof this, it seems doubtful that Dickens intended a purely evolutionary picture.Although there is a link in the novel between masculinity and evolution, the two do not go only hand in hand. Dickens uses the bildungsroman model, but Pips development is one of credence of his role in life quite than the outright triumph evolutionary theory suggests. However, I do not believe that Dickens destine out to critique Darwin either. The novels discussion of masculinity sometimes coincides with evolution, and sometimes does not. I think it would be fair to say that Dickens was influenced by the resolution of evolution on masculinity, but his characters successes and failures do not fit in with any definite theory.In The Picture of Dorian Gray,masculinity is linked less to evolution and more to aesthetics. This is largelya result of Wildes adherence to the principles of the aesthetic faeces,particularly that of Art for humanities sake. This consists of the idea, outlinedin the novels preface, that Art is an entity in itself and that its ownbeauty, and not its meaning or purpose, is what gives it the right to exist -All art is quite useless.This idea permeates the main character,Dorian Gray, in lots of ways, not least in the identity of his masculinity.This can be seen in skipper heat contents description of him in the first chapter -this young Adonis, who looks as if he was do ou t of ivory and rose leaves.Whyhe is a Narcissus.With its classical references and focus onphysical attributes rather than personality characteristics, this represents aquite different masculine ideal from that which the evolutionists favoured.Masculinity here is perhaps close to the Platonic ideal, and there is noparticular emphasis on such traits as physical strength and courage, eitherphysical or moral, with which the bildungsroman might be associated.Moreover, some of the most primaeval aspectsof masculinity are challenged. Wilde was, of course, a homosexual, and thistheme is implicitly covered in The Picture of Dorian Gray. For instance,although all of the main characters have heterosexual relationships, such asDorians whap for Sybil Vane, there is a suggestion of homosexuality as well.The men are certainly homosocial, and there are implications in therelationship between Lord Henry and Dorian. The former talks very dotingly tohis protg, right up to the end of the book, My de ar boy, You are much toodelightful, and so forth, and perhaps more significantly, it isDorians high-priced looks that first attract him. This affects the way masculinity isdealt with in the novel in the respect that it removes the element of trying towin the female love interest that we see in Great Expectations. DespiteDorians brief fixation with Sybil, women seem largely ensuant to the livesof the principal male characters. This is arguably because they are onlyrequired when they are of aesthetic value, not for their emotional input.Dorian does not ultimately let Sybils suicide interfere with thepseudo-homosexual, and more aesthetic, relationship he has with Lord Henry.Critics have suggested that thisis part of a movement in society in which Wilde and others brought forwardidentity regime, the concept that individuals can view themselves in thelight of their deviations from the norms of society, often enjoying aspects ofthemselves that some might consider abnormal or fifty-fif ty immoral. As Audrey Jaffenotes, the contrast between beautiful and ugly images of Dorian Grayreproduces the aesthetics of contemporary identity politics, in which identitytakes shape as the difference between negative and positive culturalprojections.This is perhaps the biggest contrast with GreatExpectations.Whereas Pips manhood is seen as complete when he has learned to accept his place in the world, Dorians masculinity is be by his unwillingness to conform. It is his aesthetic makeup that makes him a man. The implied homosexuality is part of that, since it involves breaking the taboos of society. According to Jaffe, we may catch the early strains of an identity politics whose anthem will eventually become loud enough to make itself heard even on St Patricks Day.In this respect, aesthetics are central to the novels portrayal of masculinity, although characters like James Vane do represent a more traditional viewpoint, coming into courting such traits as confrontation, family l oyalty and defence of ones honour.In conclusion, the representationof masculinity in Great Expectations does nod to a discourse onevolution. Dickens uses the bildungsroman model, and there is a genuine senseof progression, and with it, the rise of masculinity. In some respects,Darwinian theory is supported, as in Pips dependence on others in thestruggle for existence. However, his failure to catch offspring and hissomewhat humbled ending conflict with theories of evolution. As well as this,there is the consideration that masculine characteristics are often given tocharacters that do not evolve, such as Miss Havisham, while the hen-pecked Joeachieves the ultimate evolutionary success in reproducing. This would seem tolead to the conclusion that Dickens was aware of evolution, and to some extentinfluenced by it, but did not use it as the sole basis for portrayingmasculinity.By contrast, The Picture ofDorian Gray shows a direct link to the principles of the aestheticmovement. With his looks and his sensual admittance to life, Dorian embodies muchof the movements ethos, and his masculinity is defined in terms of his charmand visual appeal. The tinge of homosexuality in the book reinforcesthis. By failing to conform to the ideals of mincing society, Dorian isrepresentative of a form of masculinity that relates to identity politics.Rather than taking the moral route to manhood, he celebrates the beauty ofhis deviance. In this respect, his masculinity is entirely aesthetic, as it isdefined by his individual beauty, and the contrast between positive andnegative views of him. However, Wild does portray other, more traditional formsof masculinity, albeit marginally, in the character of James Vane.Evolution and aesthetics,therefore, do play a major part in late Victorian masculinity. Thebildungsroman is an evolutionary figure, while aesthetic portrayals of men werebeginning to come to the fore in this period. However, it is important toremember that these ideas do n ot govern masculinity entirely, mainly becausewriters are artists and not merely theorists. Although Wilde does adhere to aprincipal more closely than Dickens, both authors show a willingness to breakaway from theory when it is necessary for artistic purposes.ReferencesCharles Dickens, Great Expectations, Wordsworth, 2003, (Ch. 2, pg. 7)Charles Dickens, Great Expectations, Wordsworth, 2003, (Ch. 34, pg. 223)Charles Darwin, Origin of Species, 1859, (Ch 3 The Struggle for Existence)Charles Dickens, Great Expectations, Wordsworth, 2003, (original ending)Wayne Huang, Problems of auto memorial and fictional biography in Great Expectations, www.victorianweb.org/authors/dickens/ge/huangcd.html (1997)Charles Dickens, Great Expectations, Wordsworth, 2003, (Ch. 8, pg. 50)Oscar Wilde, The Picture of Dorian Gray, The Complete Illustrated industrial plant of Oscar Wilde, Chancellor Press, 1991, (Preface, pg. 4)Oscar Wilde, The Picture of Dorian Gray, The Complete Illustrated Works of Oscar Wil de, Chancellor Press, 1991, (Ch. 1,pg 5)Oscar Wilde, The Picture of Dorian Gray, The Complete Illustrated Works of Oscar Wilde, Chancellor Press, 1991, (Ch. 19, pg. 147)Audrey Jaffe, The esthetics of Cultural Identity Embodying Culture, www.victorianweb.org/authors/wilde/jaffe2.html (No date)Audrey Jaffe, Sympathy and the Embodiment of Culture in Wildes depiction of Dorian Gray, Cornell University Press, 2000 (pg. 167)