In this paper, we will be concerned with concepts of manhood in Victorian melodrama, based on "Black-Ey´d Susan" by Douglas Jerrold (1829), "Money" by Edward Bulwer-Lytton (1840), "Masks and Faces" by Charles Reade and Tom Taylor (1852), "The Ticket-of-Leave Man" by Tom Taylor (1863), "Lady Audley´s Secret" by Colin Henry Hazlewood (1863), and "Caste" by Thomas William Robertson (1867). For a comprehensive analysis of the two main
characters of every play, the hero and the villain (3.1 and 3.2), the general characteristics and attendant circumstances of Victorian melodrama will be delineated (2.1 and 2.2). In chapter
(3), the characteristic traits of heroes and villains will be elaborated and we shall see in which respect they differ and which traits they possibly share. The last chapter will attempt a
conclusive explanation as to their differences and the origins thereof. In order to illuminate the various facets of manhood and gentlemanliness, this paper will largely draw upon the ideas of John Ruskin concerning the nature of man.
Some plays, however, do not have villains or heroes who strictly conform to stereotypes or clearly designate pure evil or pure goodness. Some villainous characters are not innately evil and can be brought back to the good side. Conversely, a hero is not necessarily an innately good character but can fall prey to temptations. The villainous and the virtuous do not only distinguish themselves from one another by their morals but also by varying degrees of manliness or gentlemanliness respectively. The question that shall concern us here is in which way do they differ concerning masculinity in general and in gentlemanliness in
particular. Is it justified to view the hero as being manlier than the villain?
Table of Contents
- Introduction
- Melodrama
- Historical and Societal Background
- Melodrama's Characteristics and Characters
- Masculinity and the Concept of the Gentleman
- The Hero and His Damsel in Distress
- Summary and Conclusion
- The Villain and His Minions
- Summary and Conclusion
- The Comic or Old Man
- Analysis
Objectives and Key Themes
This paper analyzes the concept of masculinity in Victorian melodrama, focusing on the portrayal of heroes and villains in selected plays. It examines how these characters embody or deviate from ideals of gentlemanliness, drawing upon the ideas of John Ruskin. The analysis aims to understand the differences in masculinity between heroes and villains and the societal factors that shaped these representations.
- Masculinity in Victorian Melodrama
- The Ideal of the Gentleman
- Character Archetypes (Hero, Villain, Comic Relief)
- Societal Influences on Dramatic Representation
- The Role of Melodrama in Reflecting Victorian Society
Chapter Summaries
Introduction: This introductory chapter sets the stage for the analysis of masculinity in Victorian melodrama. It outlines the scope of the paper, focusing on plays by Douglas Jerrold, Edward Bulwer-Lytton, Charles Reade, Tom Taylor, Colin Henry Hazlewood, and Thomas William Robertson. The chapter introduces the central research question: how do heroic and villainous characters differ in terms of masculinity and gentlemanliness, and is the hero justifiably considered "manlier"? It acknowledges that the characters don't always strictly adhere to stereotypes of pure good and evil, hinting at the complexities to be explored.
Melodrama: This chapter delves into the historical and societal context of Victorian melodrama. It highlights the burgeoning middle and working classes' demand for theatrical entertainment, the limitations imposed by the Licensing Act, and the subsequent rise of melodramatic theaters. The chapter discusses the increasing sophistication of stage machinery, the shift in audience demographics and its impact on playwrights, and the escapist nature of melodrama, contrasting its often realistic stage effects with the dreamlike world it presented to its audience.
Melodrama's Characteristics and Characters: This chapter examines the conventional nature of melodrama, its stock characters, and its reliance on sensationalism and broad humor. It details the stereotypical portrayal of heroes and heroines as innately good and virtuous, contrasting them with the invariably wicked villain. The chapter also explores minor characters like the comic man or woman and the old man or woman, emphasizing their function in providing comic relief and heightening pathetic effects. The rigid moral framework of melodrama, with its clear-cut division between good and evil, is highlighted. The chapter notes that the lack of character development and psychological depth in melodrama is compensated for by exciting and spectacular action scenes.
Masculinity and the Concept of the Gentleman: This chapter explores the multifaceted concept of masculinity and gentlemanliness in Victorian society. It uses John Ruskin's ideas on the active and progressive nature of man to define the characteristics of a gentleman. The chapter examines the role of birth and class, noting the evolving societal view of the aristocracy, and its impact on the perception of gentlemanliness. It touches upon the paradox of birth alone not determining gentlemanly status, introducing the complexities of this concept.
Keywords
Victorian Melodrama, Masculinity, Gentlemanliness, Hero, Villain, John Ruskin, Character Archetypes, Societal Influences, Theatrical Representation, 19th Century England
Victorian Melodrama: A Study of Masculinity - FAQ
What is the main focus of this paper?
This paper analyzes the concept of masculinity in Victorian melodrama, specifically focusing on how heroes and villains are portrayed and how they embody or deviate from ideals of gentlemanliness, drawing upon the ideas of John Ruskin. The analysis aims to understand the differences in masculinity between heroes and villains and the societal factors that shaped these representations.
Which plays are analyzed in this paper?
The analysis includes selected plays by Douglas Jerrold, Edward Bulwer-Lytton, Charles Reade, Tom Taylor, Colin Henry Hazlewood, and Thomas William Robertson.
What are the key themes explored in the paper?
Key themes include masculinity in Victorian melodrama, the ideal of the gentleman, character archetypes (hero, villain, comic relief), societal influences on dramatic representation, and the role of melodrama in reflecting Victorian society.
How does the paper define masculinity and gentlemanliness?
The paper explores the multifaceted concept of masculinity and gentlemanliness in Victorian society, utilizing John Ruskin's ideas on the active and progressive nature of man to define the characteristics of a gentleman. It also considers the roles of birth and class in shaping these perceptions.
What are the main character archetypes discussed?
The paper examines the typical character archetypes found in Victorian melodrama: the hero, the villain, and the comic or old man. It explores how these characters embody different aspects of masculinity and how they contribute to the overall narrative.
What is the role of melodrama in reflecting Victorian society?
The paper explores how Victorian melodrama, with its sensationalism and stock characters, reflected the social, economic, and cultural changes of the era, including the rise of the middle and working classes and their demand for theatrical entertainment.
What is the historical and societal context of Victorian melodrama discussed in the paper?
The paper discusses the historical context of Victorian melodrama, including the influence of the Licensing Act, the development of stage machinery, and the changing demographics of the theatre audience. It explores how these factors shaped the content and style of melodramatic plays.
What are the characteristics of Victorian melodrama discussed in the paper?
The paper details the conventional nature of melodrama, its reliance on sensationalism and broad humor, its stock characters, and its clear-cut division between good and evil. It also notes the lack of psychological depth compensated for by exciting action scenes.
What is the central research question of this paper?
The central research question is: how do heroic and villainous characters differ in terms of masculinity and gentlemanliness, and is the hero justifiably considered "manlier"?
What are the keywords associated with this paper?
Keywords include Victorian Melodrama, Masculinity, Gentlemanliness, Hero, Villain, John Ruskin, Character Archetypes, Societal Influences, Theatrical Representation, and 19th Century England.
- Quote paper
- Patrick Ludwig (Author), 2006, Concepts of Manhood in Victorian Melodrama, Munich, GRIN Verlag, https://www.grin.com/document/130537
