Topic Three: Marriage and Feminism": (Appendix E) Caird and Grand

As Both  Caird and Grand look at society, they discovered the ways of which the man controlled the women. Although they both express to their readers that women being controlled was man’s “fault”, Grand expresses her belief of how it was also woman’s “fault” too.

With Caird being a feminist during this Victorian era, she described how women were  treated like a “chained up...dog” (Caird 296). Using the adjectives “miserable,” “ill-looking,” and “spiritless” (Caird 296) she explains to readers the way the man during this time period made their wives feel. They made women feel as though they were an animal. Caird expressed how women have become “adapted...to the misfortune of captivity” (Carid 297) and how because of it she is now “...accustomed to it.,”(Caird 296), it being the role she plays in the house. One of the rights women should have according to her is, “ The economical independence of women is the first condition of free marriage” (Caird 299). Meaning, women shouldn’t have to feel like they need to marry a man to be economically comfortable. Women should have the right to marry for love not for “sake of bread and butter” (Caird 299). Grand also has her beliefs on women's freedom and how the woman herself is also to blame for the freedom they are restricting.

With women being treated like second class citizens for so long it doesn't hurt to wonder why this treatment of women hasn't be stopped in its tracks earlier. Grand answered this question  in, “The New Aspects of the Women Question,”reasons   “... we are not blameless in the matter ourself. We have allowed him to arrange the whole social system and manage or mismanage it all these ages without ever seriously examining his work…we have meekly bowed our heads when he called us bad names instead of demanding proofs… we have listened much edified to man’s sermons on the subject of virtue…”  (Grand 300). With these strong words like “bowed” and “listened”, Grand shares with her readers some of the ways women have “allowed” him to get away with  arranging “the whole social system”. The words “examining” and “demanding” are the actions women should have taken when the first signs of their freedom were being withdrew.

When the women of the Victorian society read what Caird and Grand have to say about their rights some will be shocked, they may argue that isn't a woman's place to get involved with social system. Other women who are younger and less old fashion will agree with Caird and Grand, they are the women who will ask who else is going to get involved and fight for women's rights. The men of the society may try to hide these writing from their wives and keep their eyes “narrowed...so that our view of it should be all distorted” (Grand 300-301).

Caird, Mona. "Marriage." In The Secret Agent. Toronto, Ontario: Broadview Editions, 2009. Print.

Grand, Sarah. "The New Aspect of the Women Question." In The Secret Agent. Toronto, Ontario: Broadview Editions, 2009. Print.

Topic Three: Marriage and Feminism": (Appendix E) Patmore and Ruskin

Although Patmore and Ruskin both contain women, Ruskin at least believes in the “power” of women inside the house.

With Patmore being a man in this Victorian era, he believed women in the Victorian society are suppose to be no more than the pleasing and forgiving, “angel in the house.” (Patmore 293). He states, “Man must be pleased” (Patmore 293) using the word “must” shows the reader that the person who will be pleasing the man doesn't have a say in whether or not they want to please man, it’s a command. Patmore uses the passive voice to indicate that he doesn't have to mention the women, who will be pleasing the man, because society already knows it’s a woman's “job.” Adding the woman to the sentence would take away from the man, who Patmore believes to be more important. In the rule of  forgiving Patmore says, “And seems to think the sin was hers”(Patmore 294). To the audience it sounds like the man is never wrong and if he happens to be wrong, its the woman's job to make it her wrong. To Patmore the woman can’t question whether they're going to forgive their husband, that is what is expected of women to do. The woman must forgive her husband no matter how big or small the “sin” was. “ She loves with love that cannot tire”(Patmore 294), if the man decides he doesn't love his wife anymore it’s the woman's job to love harder. With the word “tire” Patmore tells us that the woman isn't ever allowed to show her true emotions. Ruskin still believing in the containment of women he does give them “power” inside of the house.

With Ruskin stating, “Each has what the other has not”(Ruskin 294) he shows the reader that both sexes are important, but the sex of women would never be nearly as important as the sex of  men. “The woman's power is for rule, not for battle,”(Ruskin 294) This statement by Ruskin suggests that she can rule, as long as it is in a place where men will find it too easy to rule. Ruskin writes, “her intellect is not for invention … but for sweet ordering…” (Ruskin 294) Using the word “sweet” to describe her intellect he sugar coats her intelligence. Although, Ruskin lowers women he shows her power as “ruler” of the home. “But home is yet wherever she is” (Ruskin 295) doing this shows the power of her peacefulness and shelter. He believes that when a woman is present she has the power to change the whole setting of a room.  

Even though Patmore and Ruskin are along the same lines, Ruskin’s perspective can still be seen as giving women too much power, even if it's just in the house. If a woman in the Victorian society follows the beliefs of Ruskin, and her husband beliefs are along the lines of Patmore, this will create some tension in their household. In the Household where she believes she has the “power” and free from the “hostile society of the outer world…” (Ruskin 295).

Patmore, Coventry. "The Angel in the House." In The Secret Agent. Toronto, Ontario: Broadview Editions, 2009. Print.

Ruskin, John. "Sesame and Lilies." In The Secret Agent. Toronto, Ontario: Broadview Editions, 2009. Print.

Topic Two: "Anarchism and Terrorism": (Appendix B):["Anarchism" and "The Scientific Beast of Anarchy"] Kropotkin

Through Kropotkin’s argument about anarchism, he sets up the idea that.”you must limit the powers of the government and renounce parliamentary rule” (Kropotkin 267). Limiting the government would mean getting rid of both Court-rule and Capital-rule. Kropotkin believes government is bad because it doesn’t evolve with the people in the society. Using the words, “harmony” and “free agreement,” he lightens the topic of anarchism. Kropotkin explains that from the beginning of time there was always some type of government. Letting the reader know that he is for the rights of people, but some type of system needs to be in place so that society will have something to fall back on. For this he refers to the system of Serfdom which to him is, “Court-rule” and a Representative government which to him is, “Capital-rule” (Kropotkin 267). Due to Kropotkin’s belief in “the philosophy of evolution” he does believe that “Class-rule” in London during this Victorian era will not help but rather be a “nuisance”  for the simple fact that society has “grown” out of that time of “Class-rule”(Kropotkin 267).

Kropotkin believes that the government needs representatives, he believes that it can’t just be anybody. To this he argued that, “...the fittest will prove to be those combine intellectual knowledge with the knowledge necessary for the production of wealth…” (Kropotkin 267). His theory is even if your ancestors were rich, it doesn't mean that you will stay rich, it all depends on if you're mentally capable to stay rich. If society would follow this theory the class structures would level out and the gap between the rich and the poor will start to close. Society as a whole may even try to work harder to attempt to get to where the rich are.

Already reading anarchy, society may not be as surprised when Kropotkin enlightens  them about how all of their already ‘favorite” writers are all anarchist. The Victorians will be so excited that their lives will be like what they read in the books. They will no longer suffer from “misery” and it’s insufficient production.   

Kropotkin, Peter. "The Scientific Bases of Anarchy." In The Secret Agent. Toronto, Ontario: Broadview Editions, 2009. Print.

Topic Two: "Anarchism and Terrorism": (Appendix B):[2 letters from Conrad to R.B. Cunningingham] Conrad

Through the dehumanizing machine, Conrad shows how the revolutionary can never be a remorseful human being  because in society people are without hearts . To R.B Cunninghame revolutionaries have, “faith,” “honour,” and “fidelity” (Conrad 264).  To Cunninghame this is important because personality counts and if you have a good personality you can’t be, “a dangerous man.”(Conrad 264). Conrad describes one who is dangerous with the characteristics of a machine. Conrad describes machines to have no thought, no conscience, no foresight, and no heart. Leading the reader to believe that terrorist in a way isn’t human. He takes away the assumption that all living things must die with the word “immortal” and “indestructible” (Conrad 264). With these two adjectives Conrad paints a picture for the reader of terrorists which look like a cold, dark machine.

Even though revolutionaries don’t have hearts, these aren’t even revolutionaries according to Conrad. He retracts his statements by quoting, “All these people are not revolutionaries - they are shames.” (Conrad 265). Conrad explains that a “real” revolutionary does take thing one step at a time, instead they act like a millionaire and take on the big job. The millionaires can take on this big job because they have the resources to do so. It’s hard for anybody to tell a millionaire “No.”

In this Victorian era. letters about politics weren't at all secret. These letters between Conrad and Cunninghame were public. When society finds out that they are stronger than people themselves society might overthrow the government. Even though Conrad writes how people cannot control the government society may find a way to control the government and get not only what they need, but also what they want out of it.

Conrad, Joseph. "Joseph Conrad's Letters to R.B. Cunninghame." In The Secret Agent. Toronto, Ontario: Broadview Editions, 2009. Print.

Topic One: "London": Part Two (Appendix A): Hueffer

Through dark imagery and the figure of the horse down, Hueffer shows London more monstrous than people would have assumed from a distance. Hueffer senses that people outside of London picture this perfect city, "…with colour everywhere" and "…the glint of straws blown from horse's feeds…"(Hueffer 257). Hueffer explains the way one might imagine feeling when crossing the streets of London.

From the "…indissoluble muddle of gray wheel traffic…"(Hueffer 257) to the …"pallid church wavering into invisibility"(Hueffer 257), Hueffer shows the darkness of the City of London. With the words "pallid, "wavering," and "invisibility"(Hueffer 257) describing the church, Hueffer shows the reader how the ethics of the Londoners have disappeared. With the words "gray," "mud." and "muddle" describing the streets of London, Hueffer shows the reader how colorless the city is with imagery.

Instead of supporting people's glorious view of London Hueffer explains the "truth" about the "monstrous" streets of London. To him the things you should "avoid" looking at, like the "…horse down in the sticky streets with its frantic struggles…"(Hueffer 257). To him there is nothing more horrifying to look at in the streets of London than this "ghostlike" figure of a horse down. Hueffer paints a picture for the reader by explaining, "the frantic struggles," "the apparition of great teeth," and "lying still of the horse" (Hueffer 257). As the Horse lays there in pain, the people of London take a quick glance and think nothing more of this Horse. Their disregard for the horse shows that the Londoners are emotionless.

The people outside of London not knowing about this "monstrous" city, show that the outsider must not know about the carelessness of the Londoners during this Victorian era. Once the outsiders do know, they won't again picture London with its, "…paving stones almost opalescent…" (Hueffer 256). Instead they will imagine the "sticky mud," the "frantic struggles," and the "lying still of the horse"(Hueffer 257) of London. Hueffer wants the reader not to let their city, outside of London, get to be what London is during this Victorian era.

Hueffer, Ford. "The Soul of London: The Survey of a Modern City." In The Secret Agent. Toronto, Ontario: Broadview Editions, 2009. Print.

"Monstrous" 

Topic One: "London": Part One (Appendix A): Dickens

Through the darkness of London, Dickens leaves the people to wonder whether the metaphorical fog will ever lift. The Darkness of London is symbolized by the "… mourning… for the death of the sun" (Dickens 255). For the people do not know whether or not a new day has begun. A new day would symbolize the new rules for the Victorian era. This new day won't start until the fog lifts. The metaphorical fog represents the harsh rules of the Victorian era. The "harsh rules", "creep into the cabooses of collier- brigs…" (Dickens 255). Dickens shows that the fog doesn't just effect the people who receive pensions, but also captains of ships and farm workers.  Dickens explains the closer you get to Temple Bar, in Lincoln's Inn Hall, the denser the fog gets, the harsher the rules of the Victorian era get because there, at the heart of the fog sits the Lord High Chancellor. The Lord High Chancellor is the one enforcing the Law and the reason why the fog gets denser the Closer you get to Temple Bar.  

Once the fog hovering over the Victorian people gets lifted, the Victorian society would be able to stop mourning about the "death of the sun"(Dickens 255) and instead celebrate a new day. The new day would represent the beginning of more informal rules for the people of the Victorian era. When there is a new day they will walk towards Temple Bar, in Lincoln's Inn Hall, the fog won't get denser because there, at the heart sits the understanding Lord High Chancellor.

Dickens, Charles. "Bleak House." In The Secret Agent. Toronto, Ontario: Broadview Editions, 2009. Print.