By Miriam Bailin
During this exploration of the importance of disorder within the Victorian literary mind's eye Miriam Bailin maps the cultural implications and narrative results of the sickroom as an enormous symbolic area in nineteenth-century existence and literature. Dr Bailin attracts on non-fictional bills of affliction via Julia Stephen, Harriet Martineau and others to light up the presentation of sickness and ministration, sufferer and nurse, within the fiction of Charlotte Brontë, Charles Dickens and George Eliot. She argues that the sickroom capabilities as an imagined retreat from conflicts in Victorian society, and that fictional representations of affliction serve to unravel either social clash and aesthetic rigidity. Her focus at the sickroom scene as a compositional reaction to insistent formal in addition to social difficulties yields clean readings of canonical works and ways to the constituent components of Victorian realist narrative.
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Additional resources for The Sickroom in Victorian Fiction: The Art of Being Ill (Cambridge Studies in Nineteenth-Century Literature and Culture)
Sample text
In becoming a nurse Nightingale was defying not only her family but also societal conventions and expectations. The wealthy and well-connected Nightingale was expected to make a brilliant social success, to marry well, and to bear children, not to immure herself in the sordid world of hospitals for the destitute or in the battlefields of Empire. What was considered the highest role a woman could perform within the home - an act of tenderness, sympathy, and tact - was, outside of the home and for hire, considered to be menial, degrading, and improper.
One of Martineau's biographers notes that" she created for herself the perfect hospice, managed by her nieces and devoted maidservants, who wrote letters at her dictation, and filtered the flow of sometimes unwanted visitors. " 45 Although the demarcation of public and private realms worked to confine women within the home, it is a little-noted irony that domiciliary privacy was, for many women, not private enough. Home was, in fact, something of a public thoroughfare requiring constant attendance upon visitors and family.
Tryan's sickroom in "Janet's Repentance " for instance, Janet's "dark watchful eyes detected every want... and supplied the want with ready hand" (27); in Great Expectations, Pip notes that Joe's tenderness is "beautifully apportioned to my needs" (57). Sickroom wants are not necessarily meager. Pendennis's illicit appetite for the lower-class Fanny Bolton is transposed to a convalescent hunger applauded by his own mother: "His appetite 22 The sickroom in Victorian fiction was something frightful...