The Changing Face of Class Confrontations
A common trend throughout early
British literature was the use of the upper class as its primary
subject
matter. Not only was the upper class important in the writing, but it
became
empowered through it as well. However, by tracing the development of
the novel
during the Victorian period, it becomes apparent that the power of the
lower
classes within society significantly increased, and the function of the
novel
changed in accordance with such developments. Once used as an
instrument to
uphold the prestige of the upper class, the novel developed into a
medium
through which the lower and middle classes were glorified. In both
Elizabeth
Gaskell’s Wives and Daughters and Thomas Hardy’s The
Woodlanders,
verbal confrontations occur between characters that symbolize the
greater class
struggle occurring within society; furthermore, while Gaskell’s 1864
novel
allows the upper class to maintain its dominance, Hardy’s 1887 novel
shifts the
power to the lower classes, thereby utilizing the novel as a means of
social
empowerment.
In her novel Wives and Daughters,
Elizabeth Gaskell portrays the class struggle that is occurring
throughout
society as a confrontation between Mr. Preston and Squire Hamley. The
Squire
initially confronts Preston because he is angry about the alleged
trespassing
of Preston’s men. However, the conflict that ensues becomes a blatant
debate
over social rank, and it is complicated by Gaskell’s inversion of the
two men’s
appearances in relation to their social statuses. Preston is oddly
portrayed as
the ideal gentleman. Gaskell describes both Preston and his horse as
she writes
of “the handsome and well dressed agent’s . . . capitol roadster”
(337). Squire
Hamley, on the other hand, was simply “mounted with his ill groomed and
aged
cob” (Gaskell 337). Rather than presenting Hamley as a mature man of
wisdom,
Gaskell depicts him as a tired, old man. Furthermore, this is evident
of the
emerging sentiments about the two classes; while the upper class was
passing
its prime as the center of British society, the lower classes were
emerging
young, fresh, and strong.
Though the two characters’
descriptions sharply contrast one another, their behaviors throughout
the
confrontation are very similar. Preston, offended and “a little annoyed
at the
ignorance attributed to him”
(Gaskell
337), reacts in a very sarcastic and arrogant manner to the Squire’s
requests.
He takes pride in his ability to mock the Squire, and Gaskell explains
that “he
added these last words in a lower tone, as if to himself, with a
slight,
contemptuous smile on his face” (338). Squire Hamley likewise utilizes
an
arrogant tone of superiority with Preston, for, as Roger clearly
reminds him,
“‘my father is a gentleman of age and position’” (339). However,
despite the
similarities of their behaviors, Gaskell’s portrayal of Preston’s
character is
more significant. After all, it clearly denotes that he places himself
on the
same level as the Squire.
Ultimately, however, despite
Preston’s attempts to place himself on this same social level, Gaskell
does not
allow him to prevail as the victor in this confrontation. The outcome
is
determined by the Squire’s actions and Preston’s lack thereof.
Throughout the
entire scene, Gaskell builds Preston up to be a destructive force to
the
nobility of Squire Hamley; not only is he presented as the gentleman by
appearance, but his strength of character is seemingly equal to that of
the
Squire. Nevertheless, his recalcitrance is in vain, for the Squire
never budges
from his position. Roger explains the control maintained by the members
of the
upper class and says, “‘I will enquire into it myself at a cooler
moment; and
if I find that such trespass or damage has been committed, of course I
shall
expect that you will see it put a stop to’” (Gaskell 339). Thus,
Despite
Preston’s efforts, the nobility maintains the power and control within
society.
Furthermore, Though Hamley is embarrassed by references made to his
financial
affairs, Preston is left muttering insults to himself as the Hamleys
retreat in
victory and are “too far off to hear the rest” (340). Though this scene
demonstrates the increasing significance of the lower classes within
society
and literature, they are not yet the powerful force that they will
eventually
become.
In Thomas Hardy’s The Woodlanders, a
similar
confrontation is presented between Giles Winterborne and Mrs. Charmond.
As they
meet on a narrow road that is only wide enough for one vehicle, one of
the two
stubborn characters must surrender their pride and allow the other to
pass.
Unlike Gaskell, however, Hardy does not defy the common portrayals of
the two
classes. Winterborne is clearly presented as a member of the lower
class. He is
not as well groomed, his clothing is stained from his work, and he is
walking
alongside a carriage rather than riding. Mrs. Charmond, on the other
hand, is
clearly presented as a typical member of the upper class with her fancy
clothing, purchased hair, and abundant servants. As Hardy writes, “The
carriage
was a covered one, while behind it could be discerned another vehicle
laden
with luggage” (99). Essentially, unlike Gaskell, there is not deception
in the
portrayals of Hardy’s characters. However, his distinction between the
two
classes becomes significant as the conflict ensues.
Hardy does follow Gaskell, however,
in depicting great similarities between the attitudes of his
characters. Giles,
though he is more sensible and logical in the situation, displays a
stubbornness and unwillingness to move, even at Mrs. Charmond’s
command. Hardy
writes, “‘But even with that,’ he said, ‘you can back off better than
we. And
you ought to, for you could hear our bells half a mile off’” (99).
Furthermore,
Hardy describes Winterborne’s conduct as sarcastic and says that he was
“less
gentle than he might otherwise have shown himself” (99). At the same
time,
though, Mrs. Charmond combines an equal stubbornness with the typical
arrogance, selfishness, and general apathy associated with the upper
class. As
her driver remarks to Winterborne, “‘Well, our time’s precious . . . .
You are
only going to some trumpery little village or other in the
neighborhood, while
we are going straight to Italy’” (Hardy 99). Like Gaskell, Hardy
employs the
same strength of character between both his characters, thereby
indicating the
changing face of society and the increasing power of the lower classes.
Once again, however, the essence of
the scene is determined by the characters’ actions. Unlike Mr. Preston,
Winterborne takes a firm stance and refuses to bow to the will of the
upper
class. His refusal to acknowledge the authority even of Mrs. Charmond
is
evident of Hardy’s elevation of the lower classes. Mrs. Charmond, on
the other
hand, initially demonstrates the same firmness, but then she cowers to
the
stubbornness of Winterborne. Hardy writes, “In fine, nothing could move
him,
and the carriages were compelled to back” (99). Mrs. Charmond’s
submission to
Winterborne’s desires symbolizes both the declining power of the upper
class as
well the increasing power of the lower classes that is better
illustrated by
Hardy’s novel than by Gaskell’s. Furthermore, though Winterborne is
left as
unhappy as Squire Hamley
at
the nature of his encounter, his victory over Mrs. Charmond is a
powerful step
towards lower-class
empowerment,
proof that the function of the novel has changed, and clear evidence
that it
has become an endorsement of the lower classes.
The drastic difference in the
outcomes of these two similar situations clearly demonstrates the great
changes
in the novel’s function during the Victorian Era. As can be seen in
Elizabeth
Gaskell’s Wives and Daughters, the upper class once maintained
a status
of extreme importance in Victorian society despite the growth of the
lower
classes. At the same time, Thomas Hardy’s The Woodlanders
demonstrates
the societal shift towards empowering the lower classes as time
progressed.
Ultimately, as the novel has traditionally offered a means of social
expression, its developments and progression over the years not only
demonstrate its tendency to promote a reflection of society but to
serve as an
impetus to change it as well.