What Was Considered the Main Function of the Family Unit in the Nineteenth Century?

Middlemarch: Family & Social Rituals

Introduction

During the Victorian Age, changes in family unit and social rituals were taking place. Social etiquette was becoming increasingly important to all social classes. Books detailing the customs and behavior of the aristocracy were published and so that the middle class was able to learn and practise the intricacies associated with the etiquette of the upper course. The idea of the nuclear family was increasingly exalted. Prior to the Victorian age, building relationships within the family unit was not deemed of import past society, but with improvements in the economic structure, an opportunity for individuals within families to develop closer relationships with one some other came. Inside the family, Victorian values such as chastity and modesty were too gaining importance; rules for social behavior regarding courtship and marriage were strict and rarely deviated from. These ideas concerning social etiquette, the "Victorian Family," and courtship were exalted and romanticized during the Victorian Age and tin can be seen in the novel Middlemarch.

Social Etiquette

Addressing Others

Rules of etiquette during the Victorian age ofttimes varied depending on the social class and gender of an individual. For instance, when addressing some other person of a higher class, surnames and titles were ever used as a sign of respect. Among family members, only children were to be addressed by their first name until they reached immature adulthood at which point their permission would exist required. Within a family of multiple children, there were rules regarding the addressing of each sibling. Sally Mitchell, the author of Daily Life in Victorian England, explains, "The eldest sister in a family with several daughters was called, for example, 'Miss Bowen.' Younger sisters were called 'Miss' with both beginning proper noun and surname: 'Miss Anne Bowen" (149-150). Outside of the family, in that location were rules for addressing others betwixt men, women and both men and women. For example, men of the upper form always referred to each other by their surnames, never dropping the formality of such interaction. In contrast to the never-ending formalities between men, for young ladies and women, interactions would initially be marked by formal advice with the use of "Miss" when addressing one some other, only once a friendship was fabricated, the formality would disappear and they would interact with each other on a first-name ground. In addition to these rules, single young men and women were expected to address one another in a certain way; the rules dictating that prior to an engagement, they were not immune to accost one some other by their first name (Mitchell, 150).

Eliot shows us instances in which each of these rules are perpetuated past characters in her novel. In Affiliate 24, we are able to observe how children are addressed during a scene including the Garth family and Fred Vincy. Two of the younger Garth children, Letty and Ben, are referred to by Fred by their first proper noun's merely. This is an example of the informality attached to children of a certain age. The deference paid between two siblings is also noted in Eliot's novel and can exist seen equally early equally Chapter ane when the oldest Brooke sis is referred to as "Miss Brooke" and the younger sister is most oftentimes referred to as "Miss Celia." This tradition continues throughout the novel until "Miss Brooke" is married to Mr. Causabon and becomes Mrs. Causabon. The interaction between male person characters in the novel is consistently characterized by a reference of last names. An instance of this appears in Chapter eighteen when the lath of the newly congenital infirmary meet to discuss Lydgate's position; this, however is only ane example of many throughout the novel.

Every bit a contrast to how men of the time interacted, women would normally formally address i another only upon initial acquaintance. Thus in Chapter 43 when Dorothea and Rosamond encounter for the get-go time, they refer to each other as 'Mrs. Causabon' and 'Mrs. Lydgate.' Yet, Following this coming together and several others, the 2 women never refer to each other by their commencement names, which contradicts the typical exercise of well-nigh women during this time. A reason for this may be that they, in fact, never actually become friends; they are acquaintances who must interact at times just do not share a high regard for one another. In regards to how young men and women were expected to address one some other. An example of this appears in the first several chapters of the novel in the interactions betwixt Mr. Causabon, Miss Brooke, Sir James Chettam and Miss Celia Brooke. In their respective courtships, they each formally accost i some other. However, following Dorothea's engagement to Mr. Causabon, she continuously refers to him past his final name while he addresses her past her offset; Contrastingly, Chettam and Celia both address 1 another by their first names which is more consistent with how an engaged couple interacted during the Victorian age.

Paying Calls

Some other formality that existed during the Victorian age was practical to the times and ways in which people were expected to visit with i some other. The adequate hours for paying calls on i some other was ordinarily express from somewhere between iii-6pm, depending on the commune and nature of the visit. Visits unremarkably lasted betwixt 15-xx minutes during which time the two parties would chat with one another over tea, brandy, cigars, etc. (Mitchell 150-151). The procedure often prescribed to when calling on someone usually required a servant to deliver a calling card to the front door of the house the caller was visiting to inform the inhabitants of the home of their presence, or if the person was not wealthy enough for a servant, the caller him/herself would deliver a card to the servant of the house. If a visit was not desired by the receiving political party, then he/she would simply tell their servant to inform the caller that he/she was non domicile (website). In special circumstances, such as "visits of condolence or congratulation," at that place was a special and distinct protocol that was followed which varied from the norm. Hughes explains that such visits "must be made nigh a week after the outcome. [However], If you are intimate with the person on whom you call, you lot may enquire in the outset case for admission; if not, it is better merely to leave a card, and make your 'kind inquiries' of the servant, who is mostly primed in what fashion to answer them" (177). Calling cards and the regulations applied to calling on others, are an example of the strict formality Victorians were embracing during this time.

Eliot works to truthfully represent the traditions associated with paying calls during the Victorian historic period in Middlemarch. Thus when Dorothea calls on the Lydgate's in Affiliate 43, she inquires of the servant whether or non Mrs. Lydgate is at home to which the servant informs Dorothea that she is. She then inquires as to whether Mrs. Lydgate is bachelor to talk; Dorothea is then led into the drawing room. In respect to calling cards, Eliot barely mentions them or the human activity of using them when calling on others. However, we can notice an instance in Chapter 21 during which a bill of fare is used by Will Ladislaw–a relation to the Causabon's who is visiting the expanse. In this scene, we are told that Mrs. Causabon is interrupted in her report by a servant who hands her a menu and informs her that a gentleman is calling. The retainer and so inquires whether she wishes to run across him to which Mrs. Causabon replies in affirmation (Ch. 21, beg). In the cases of paying calls of condolence on families, Eliot does not represent this attribute of life in her novel. There are ii deaths in Middlemarch, Rev. Causabon and Mr. Featherstone. In both instances, Eliot does not bear witness whatsoever instances during which people telephone call on the mourning families to offering condelences nor does she show any calls of congratulations. This ritual of Victorian life does not appear to exist adhered to in Eliot'due south novel.

Queen Victorian and family

The Victorian Family unit

Upper Class

Families during the Victorian era were changing in accord with the times. With the new economic stability that England was experiencing, avenues that were previously closed to most families were beginning to open. Leisurely activities were condign increasingly accessible to all levels of social classes. The results of which were causing a change in perspectives regarding the idea of family. The lives of upper class families were changed the to the lowest degree; their wealth having already granted them freedom of fourth dimension. Mitchell explains,

[Their] 24-hour interval began when a servant brought in hot water for washing and a loving cup of tea or coffee with something small to eat. About then spent the next 60 minutes or two in their own rooms writing, reading, or attending to private business. Among aristocrats and the substantial gentry, there were usually more than two adults in the house. Houseguests and long visits from relatives were mutual; unmarried or widowed aunts and sisters were part of the family unit grouping. A large midmorning breakfast began the social day. (144)

Following breakfast, men would engage in afternoon activities such as sports and hunting whereas women would perform social duties such equally paying calls or studying music and engaging in needlework. Spending time with their children was not a top priority. The upper class took care of their parental duties during "children's hr," during which time parents would spend an hour in the company of their children. Considering parents ate their meals and spent their time separate from their children, this was the but time of day when the children'southward nursemaid was not taking care of them (Mitchell, 144).

In her novel, Eliot shows the inner workings of a genteel family through the Brooke family. Mr. Brooke, the head of the house and the girls' uncle, is an independently wealthy homo who does not need to piece of work to support himself. He owns a large amount of state and is often referred to as a horrible landlord while his days largely consist of engaging in various pursuits for leisure. As is mentioned in the first chapter, Dorothea and Celia are his nieces who take just recently come to live with him. While Celia is a typical example of a genteel lady interested in lady-similar pursuits and having a "common-sense" that her sister lacked, Dorothea was ofttimes thought abnormal by the community of Middlemarch. She was described as "A immature lady of some birth and fortune, who knelt all of a sudden down on a brick flooring past the side of a sick laborer and prayed fervidly as if she thought herself living in the time of the Apostles–who had strange whims of fasting like a Papist, and of sitting up at night to read old theological books!" (3). The corporeality of time that each member of this family unit has to commit to their private pursuits is representative of how upper form families spent their fourth dimension. Subsequently in the form of the novel, we are shown another genteel family at an earlier phase of evolution. Following the spousal relationship of Sir James Chettam and Celia Brooke and the nascence of their child, we are shown how children are taken intendance of in the upper class. While Celia is shown to spend more time with her child than was typical of a historical Victorian mother, she still has a nurse to take care of her child during about of the twenty-four hour period. At ane bespeak during the story when the kid appears to exist on the verge of tears, Celia says, "Here yous are, nurse; take infant and walk up and downward the gallery" (Ch 50, early on). In this scene, we are shown the duel roles that Celia, equally a mother, and the nurse, as a caregiver, play in the child's life.

Middle Grade

The routine of a center course family was non quite so leisurely (Mitchell, 144-145). Men of the eye grade would spend their days working, just women of the eye classes were not expected or allowed to work. Consequently, they had an abundance of time on their hands and no social obligations to fulfill that fourth dimension. As a result, the women of this class spent their fourth dimension cultivating relationships with their children; they were improve able to collaborate and engage in activities with them due to their lack of duties elsewhere. Better relationships within the family began to develop and children became the master focus of the middle grade adult female'due south day.

Eliot represents the Victorian eye grade through the Vincy family; a family consisting of father, mother, daughter and two sons. Mr. Vincy's profession involves manufacturing which was considered to be economically stable and enabled him to provide quite well for his family. Throughout the novel, the Vincy family proves to be a skillful instance of Victorian life for the middle-class family and are described every bit "old manufacturers [whom] had kept a good house for three generations, in which in that location had naturally been much intermarrying with neighbors more or less decidedly genteel" (Ch.xi). Mr. Vincy is accurately described as a successful businessman who doesn't have the option of leisurely activities whereas Mrs. Vincy is unemployed and otherwise complimentary of any obligations outside of her habitation. Yet, Mrs. Vincy is presented equally somewhat meddlesome in the lives of her children; her character can be considered a dramatization of the function of a middle class mother. She consistently pushes for a marriage between Rosamond and Lydgate while she believes that it volition improve her girl's status, but one time she realizes he is a poor relation of his family she vehemently disapproves of him. Consistent with the notion that she believes her children deserve better than their own class, she vocalizes on a continuous basis her disapproval of Fred'south love interest, Mary Garth. She describers her as being a "dreadful evidently daughter," non suitable for Fred but rather for life every bit a governess. She remarks that "if she had some fortune left her" then peradventure she would be more desirable as a prospective wife but "–a man marries his married woman's relations, and the Garths are and then poor, and live in such a modest way" that she is non suitable at all (Ch.6 terminate).

Working Class

Conversely, families of the working form tended to spend less fourth dimension with one some other than either of the upper classes since it was necessary for both parents to work in social club to support their families (Mitchell, 141). To make matters more difficult, there were also many cases that forced children work in helping support their families. In the early on 19th century, children of the working form were often institute working 16 hour days in sub-standard weather condition at horribly young ages–some as young as 3 years old. Although laws had been passed to restrict children from working for and so many hours of the mean solar day, it wasn't until the 1830'southward that these rules began to have affect (Spider web). As a result, working class families spent most of their days separate from one another; in result, this inhibited the close familial bonding that was so highly esteemed by the upper classes.

Finally, Eliot's all-time representation of the families of the Victorian working course tin can exist seen in the Garth's. Mr. Garth, who had one time been a prosperous concern homo, is described every bit having since fallen on bad luck and experiencing financial uncertainty. As a result, the Garth family unit which had one time been considered middle form was living in a manner more suitable for the working course. Mrs. Garth, who is described at one signal by Mrs. Vincy "as a woman who had had to piece of work for her breadstuff–significant that [she] had been a teacher before her marriage," is represented as a working mother; because of this, she is thought to hold a lower social standing than say, Mrs. Vincy. Although it is mentioned that Mrs. Garth used to exist a teacher, it is besides stated that after her matrimony, she would occasionally take on students from boondocks to govern. Eliot explains,

She had sometimes taken pupils in a peripatetic fashion, making them follow her about in the kitchen with their book or slate. She idea it good for them to see that she could brand an excellent soap while she corrected their blunders 'without looking,'–that a woman with her sleeves tucked up above her elbows might know all about the Subjunctive Mood or the Torrid Zone–that, in short, she might possess 'instruction' and other good things ending in 'tion,' and worthy to be pronounced emphatically, without being a useless doll. (Ch.24)

With this description, Eliot makes Mrs. Garth an unusual example of a working female parent while still conforming to the classifications of the working class. Her relationship with her family is also presented in a low-cal different from what would be expected of a working form mother; she is shown to have a good rapport with each of her children. This is well-nigh likely due to the fact that she works inside her home, and while she occasionally tutors children from boondocks, she teaches her own children as well. Other examples of the working grade standards that apply to the Garth family unit can exist plant with Mary and her younger brother, Alfred. Mary, who works outside the home every bit a companion to Mr. Featherstone and Alfred, who is preparing to become an apprentice, are both examples of working class children being put to work. Eliot chooses to non delve into the darker aspects of kid labor, using Mary and Alfred as the only two examples of its practise during the Victorian Historic period.

Courting

Romance during the Victorian era was strongly influenced by the changes in attitude people were adopting apropos the virtues of social behavior. The social flavour of a young woman was a very important concept during this age, it marked the point in time at which a young woman was considered to exist at a respectable age for spousal relationship. Among the upper classes, this time was normally marked by a young woman'south presentation at a social outcome, such as a brawl, and by her help in fulfilling social obligations with her mother, such equally paying calls. Amidst the middle classes, the social season was not as marked past such grandiose events. Mitchell explains that the commencement of a young woman's season was observed through her deportment, such as "putting up their pilus, wearing long skirts, joining the adults for dinner, making calls with their mother, and taking part in their parent's ordinary social life" (155). The purpose of the social flavour was for a young woman to meet fellow suitable for spousal relationship. Most courting was conducted exclusively in public places and always in the visitor of a chaperone. "Women were non allowed to be alone with a human until they were engaged. A woman was never to anywhere alone with a admirer without her mother's permission. A woman was never to go out with a gentleman tardily at night" (Ladies).

The rules surrounding courting were a product of Victorian values such as modesty and chastity, and as a result, relationships in this culture were more often products of romantic letters than personal interaction. At the crux of every courtship there was the mutual awareness that "it was not ethical for a homo to pay serious attention to a adult female unless his financial prospects would permit them to ally at some predictable engagement." When proposing spousal relationship, men were expected to receive the father'south permission first. However, the father'south permission was not a guarantee that the proposal would be accepted because acceptance was adamant by the woman in question (Mitchell, 156). Once the proposal in question was accustomed on both accounts, a banns would be posted announcing the marriage between the two parties. Earlier the marriage could take place, a license would be required and if nether the age of 21, permission from a parent would also exist obtained. Following each of these steps, the couple would then register with their church, and if they were not in violation of any prohibitions to marriage, then they could be married (Hughes, 180-182).

Eliot represents the processes of courtship in through iii couples: Edward Causabon and Dorothea Brooke, Tertius Lydgate and Rosamond Vincy and Fred Vincy and Mary Garth. At no point during the story does Eliot show or describe a coming out season for whatever of the female characters in the story. We can deduce that the ladies previously mentioned are eligible for marriage because of their deportment, wear and daily activities.

Reverend Causabon & Dorothea Brooke

In the example of Causabon and Dorothea, they are introduced at a dinner party during which they chat with 1 some other in a public place. Their relationship progresses in a very public manner, and he proposes their engagement to Dorothea in a letter. He writes,

"I have your guardian's permission to accost you on a subject than which I have none more than at heart. I am not, I trust, mistaken in the recognition of some deeper correspondence…I rely on your kind indulgence in venturing now to ask you how far your own [feelings] are of a nature to confirm my happy presentiment. To be accepted by yous equally your husband and the earthly guardian of your welfare, I should regard as the highest of providential gifts" (Ch. 5 beg). She replies, "I am very grateful to you lot for loving me, and thinking me worthy to exist your wife. I tin look forward to no improve happiness than that which would exist one with yours." (Ch. 5 beg)

The nature of this correspondence coincides with what was common behavior during this fourth dimension; a letter of the alphabet was often used every bit a means to propose marriage betwixt ii people. The fact that Causabon mentions the permission of Dorothea'southward uncle is also significant due to her age; she was not yet 21 and therefore required her guardian's permission.

Tertius Lydgate & Rosamond Vincy

The courtship of Lydgate and Rosamond followed a very similar class, the but departure found in the manner of his proposal. When Lydgate initially comes to town, he has no intention whatsoever of obtaining a married woman. However, he becomes smitten with Rosamond and begins to spend a large corporeality of time in her presence. This becomes a problem because during the Victorian age, it would not take been considered proper for Lydgate to be paying undue attention to a young lady whom he had no intention of proposing to; part of the reason he did non want a wife was considering his financial prospects would non permit it. In a chat between Lydgate and Rosamond's aunt, Mrs. Bulstrode she says to him in regards to his relationship with Rosamond, "I think information technology is a heavy responsibleness, Mr. Lydgate, to interfere with the prospects of any daughter" at which betoken Eliot describes her as "[fixing] her eyes on him, with an unmistakable purpose of warning, if not of rebuke" (Ch. 31). As a effect to her criticism of him, Lydgate avoids Rosamond for over a week. However, this does non terminal long and upon their meeting again, they go engaged. Lydgate respectfully gains permission from her father following this episode fifty-fifty though he was not required to; it would take been considered adequate during the Victorian age to inform the begetter after the engagement has been agreed upon by the two individuals in question when they are both over the legal historic period for marriage.

Fred Vincy & Mary Garth

The 3rd example of courtship in Middlemarch is that of Fred and Mary. Their relationship, which began as a childhood friendship, is non a common example of how courtship was conducted during this time. From the beginning of the story, we are shown Fred's loftier regard for Mary. Considering of their long friendship, they did not always address each other formally. Their utilise of outset names was unusual equally information technology was normally an informality reserved for fiancees. Another oddity in their relationship was the amount of time they spent with one another without a chaperone. On many occasions, while Fred would visit Mary's employer, Mr. Featherstone, he would as well visit with Mary. This afforded them a lot of time together, lone. The date of Mary and Fred was another unusual process. Fred infers to Mary that he would like to ask for her hand in marriage on various occasions, but she repeatedly lets him know that she would never marry a man who doesn't have a chosen profession; this puts them at a stalemate for nearly of the story. Mary Garth's parents are enlightened of Fred'southward want likewise as Mary is, and her father goes equally far as attempting to help Fred earn Mary'southward mitt. It is not until very late in the story, when some other suitor has entered the picture, that Mary gives Fred any hope at all that she wishes to be engaged to him. In a scene in Chapter 62, she tells a jealous Fred, "you are likewise delightfully ridiculous," informing him that there is no other person in her life that she loves better than him. She summarizes her human relationship with Fred past explaining, "when a tender amore has been storing itself in united states through many of our years, the idea that we could accept any commutation for information technology seems to be a cheapening of our lives. And nosotros tin set a watch over our affections and our constancy as nosotros tin over other treasures" (Ch. 62, end). The two eventually work past all of their reservations and ally. The portrayal of their courting is wonderfully choreographed, but Eliot leans abroad from what would have been conventional of a working class relationship in her delineation of Mary and Fred. The disapproval of Fred's parents is the ane realistic attribute since their marriage would have been disadvantageous for him and his family.

Decision

In her novel Middlemarch, Eliot creates an environs that portrays the rituals and community associated with family and social functions in an accurate way. Her presentation of social etiquette falls within the practical guidelines of the fourth dimension, with an overall quality of accurateness. She weaves the different customs and traditions required for social interaction into the plot seamlessly. Eliot too represents the Victorian family in a way that combines the historical facts backside the image with an interesting and captivating storyline. She adds embellishments to her characters and plotlines while notwithstanding staying true to reality. Finally, Eliot captures the many traditions of courtship in a variety of relationships. The courtships she creates follow, for the most part, the rules and guidelines of acceptable behavior betwixt a man and adult female during the 19th century. She manages to incorporate many of the required behaviors without overtly pointing them out to the reader. She begins the novel with a courtship between Dorothea and Causabon and ends the novel with the date of Fred and Mary. She remarks in her Finale,

"Marriage, which has been the bourne of so many narratives, is nonetheless a great outset, every bit it was to Adam and Eve, who kept their honeymoon in Eden, only had their first little one among the thorns and thistles of the wilderness. It is yet the get-go of the home epic–the gradual conquest or irremediable loss of that complete union which makes the advancing years a climax, and historic period the harvest of sweet memories in mutual."

While Eliot writes her novel with an air of subjectivity and a dose of creativeness, she nonetheless creates a earth that portrays Victorian life in the early 19th century im a real and factual manner.

Return to Middlemarch

Works Cited

Epitome: <http://www.ladiesagainstfeminism.com/ladylydia/manners902.htm>
http://www.literary-liaisons.com/article026.html
http://www.ladiesofreenacting.com/Victorianromance.html
Mitchell, Sally. Daily Life in Victorian England . Westport, CT: Greenwood Printing, 1996.
Hughes, Kristine. The writer's guide to everyday life in Regency and Victorian England, from 1811-1901. Cincinnati, Ohio: Author'south Digest Books, 1998.
Middlemarch

Contributer

Diane Aiken

scottpetry1973.blogspot.com

Source: https://sites.udel.edu/britlitwiki/family-social-rituals/