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
1. Introduction
2. Melodrama
2.1 Historical and Societal Background
2.2 Melodrama’s Characteristics and Characters
3. Masculinity and the Concept of the Gentleman
3.1 The Hero and His Damsel in Distress
3.1.1 Summary and Conclusion
3.2 The Villain and His Minions
3.2.1 Summary and Conclusion
3.3 The Comic or Old Man
4. Analysis
Objectives and Research Focus
This paper examines the evolving concepts of manhood and gentlemanliness within Victorian melodrama. It explores how selected male protagonists and antagonists from notable 19th-century plays are constructed, whether they conform to rigid moral stereotypes, and how societal expectations, class structures, and the influence of women define their identities as heroes or villains.
- The distinction between innate goodness and moral failure in Victorian theatrical archetypes.
- The relationship between masculinity, social status, and the ideal of the "gentleman."
- The role of the hero and the villain as mirrors of societal order and transgression.
- The influence of John Ruskin’s Victorian-era philosophies on the perception of manliness.
- The transformative power of love and social responsibility in the character development of male figures.
Excerpt from the Book
3. Masculinity and the Concept of the Gentleman
Apart from merely biological preconditions, there are still some other prerequisites which need to be met before a male human will have attained real manliness – or rather will have reached the lofty heights of a gentlemanly existence. Once, having come of age or being born into a certain class, a certain responsibility, maturity, and conduct are expected. Various ways of becoming ‘a real man’ and earning the respect of others presented themselves to Victorian males and formed a catalogue of virtues, merits, and traits ultimately culminating in the concept of the gentleman. The gentleman could hence be envisioned as the ‘perfect’ man. What then makes a man a real man? According to John Ruskin,
“man’s power is active, progressive, defensive. He is eminently the doer, the creator, the discoverer, the defender. His intellect is for speculation and invention; his energy for adventure, for war, and for conquest […]” (Ruskin 121f).
Ruskin’s notion of masculinity ties in nicely with ideas of chivalry, which evoke images of valiant knights, imperative kings, marvellous mansions, and castles. Being born noble goes a long way in Victorian Britain and is the source of considerable pride. In the hierarchical structures of society at the time, a noble name commanded respect and by implication, the person bearing the name came to be respected as well. It was a nobleman’s duty to take care of wards (children, servants, women, the lower classes) and in return, he could demand obedience (Nünning 19). Therefore, it would seem natural to assume that the hero is a member of the upper class or nobility. Then again, the esteem for the aristocracy was still wearing off ever since the second half of the 18th century; its lifestyle of luxury and leisure was eyed with suspicion and disapproval by the ‘middling’ classes, which were of the opinion that the nobility’s privileges were undeserved. The items on Ruskin’s list, however, only constitute a brief and incomplete outline of the male character in general and form but a small fraction of a long list of virtues, traits, and accomplishments.
Summary of Chapters
1. Introduction: Outlines the research focus on manhood in Victorian melodrama using several key plays to analyze the dichotomy between heroes and villains.
2. Melodrama: Examines the historical, societal, and theatrical context of the genre, highlighting the shift toward realistic stage effects and the reliance on stock characters.
3. Masculinity and the Concept of the Gentleman: Analyzes the prerequisites for Victorian manhood, drawing on John Ruskin’s definitions and discussing the roles of heroes, villains, and comic figures.
4. Analysis: Synthesizes the findings, arguing that the hero's superiority lies in his proximity to the ideal of the gentleman, while the villain’s failure stems from a deficiency in morals and the absence of a stabilizing female influence.
Keywords
Victorian Melodrama, Masculinity, Gentleman, Hero, Villain, John Ruskin, Social Class, Manhood, Virtue, Theatre, Character Development, Morality, Patriarchy, Victorian Era, Role Identity
Frequently Asked Questions
What is the central focus of this paper?
The paper explores how concepts of manliness and the ideal of the "gentleman" are represented and contested within Victorian melodrama through the archetypal figures of the hero and the villain.
Which theatrical works serve as the basis for the analysis?
The analysis is based on plays including "Black-Ey’d Susan," "Money," "Masks and Faces," "The Ticket-of-Leave Man," "Lady Audley’s Secret," and "Caste."
What is the primary research goal?
The goal is to determine if heroes are inherently "manlier" than villains, or if their differences lie in their adherence to specific moral virtues and societal responsibilities.
Which academic theories are utilized?
The research relies heavily on the Victorian social critic John Ruskin’s ideas regarding the nature of man, complemented by historical context on 19th-century social and theatrical developments.
What does the main part of the work cover?
The main part analyzes the specific characteristics of heroes and villains, their class backgrounds, their interaction with the law, and their differing capacities for moral development.
What are the key terms used in this study?
Key terms include Victorian Melodrama, Gentleman, Masculinity, Moral Virtue, Social Class, and the concept of the "Perfect Man."
Why are women considered crucial to the hero's development?
The author argues that women act as stabilizers; their love provides the moral framework and "armour" that allows the male hero to attain his full potential and fulfill his societal duties.
Does the villain in Victorian melodrama have any redeeming qualities?
While often driven by greed and malevolence, some minor villains demonstrate the possibility of reform through the threat of divine punishment or the redemptive power of love.
How is the concept of the "gentleman" defined in this study?
It is presented as an unattainable ideal that combines biological preconditions with a strict catalogue of virtues, moral restraint, social duty, and often, though not always, high birth.
What conclusion does the author reach regarding the villain?
The villain is not necessarily less "manly" in terms of drive or action, but he fails to become a gentleman due to his lack of conscience, social morality, and the absence of a positive female influence in his life.
- Quote paper
- Patrick Ludwig (Author), 2006, Concepts of Manhood in Victorian Melodrama, Munich, GRIN Verlag, https://www.grin.com/document/130537
