Feminist Themes in Maria Edgeworth's Belinda (1801)

Introduction

This essay examines the feminist implications of Maria Edgeworth's novel Belinda. In many ways, Edgeworth's Belinda seems to flaunt 19th-century ideas about the proper behavior of women in society. Yet the novel also reflects and does little to challenge many of the accepted roles of women at the time. The relative success of Jane Austen's novels in comparison to Edgeworth's may be related to our modern conception of an English lady as cultured and demure above all. All in all, Belinda is an important look at women's roles in 19th-century Europe.

Plot Summary

A chapter-by-chapter summary of the plot may be useful in putting the rest of the essay in context. Edgeworth's novel is made up of an impressive 31 chapters. Chapter I simply introduces the reader to the characters, and Chapter II ("Masks") continues a conversation between Belinda Portman and Lady Delacour, after which they leave for the house of Lady Singleton for a costume ball and meet Clarence Hervey, who embarrasses himself and Belinda in a case of mistaken identity. After the party, Lady Delacour reveals that she is dying, to the grief-stricken Belinda.

In Chapters III and IV, Lady Delacour tells Belinda the lengthy story of her life. In Chapter V, Belinda reflects on Lady Delacour's life and concludes that since money and a good marriage did not make the Lady happy, they may not make Belinda happy either. She says as much in a letter to her potential benefactress and aunt, Selina Stanhope. She meets Clarence Hervey again, who is determined to make up for his embarrassing behavior at the costume party. In Chapter VI, Lady Delacour and Belinda discuss the charming young Clarence Hervey, and Belinda receives a letter from her aunt expressing surprise and indignation at Belinda's feelings.

In Chapter VII, Sir Philip Baddely, Clarence Hervey, and other men enjoy a feast of food and wine. Clarence becomes unconscious during a drunken swimming contest and thereby meets Dr. X. Chapter VIII finds the personable Clarence Hervey at a party thrown at the house of Lady Anne Percival, an attractive woman who is the unacknowledged daughter of Lady Delacour.

In Chapter IX, Clarence Hervey takes Dr. X to see Belinda — of whom he is enamored — at Lady Delacour's house. After the men have gone, Lady Delacour describes her hatred of Mrs. Luttridge and her disinterest in Lady Anne Percival. Chapter X shows Lady Delacour's desire to outshine Mrs. Luttridge during the king's birthday. Lady Delacour's carriage overturns on the way to the birthday in an accident with Mrs. Luttridge's carriage; Lady Delacour is hurt, and Dr. X is summoned.

In Chapter XI, Dr. X arrives, but Lady Delacour has recovered and is dispatched after giving Belinda a letter regarding Lady Delacour's illness. Clarence Hervey comes to visit, and later Belinda hears a rumor that Clarence is in love with a girl named Virginia St. Pierre. In Chapter XII, Sir Philip visits Belinda and tells her of Clarence's affection for her. Chapter XIII continues the evolving relationship between Lady Delacour, Belinda, and Clarence.

In Chapter XIV, Belinda and Lady Delacour discuss an operation that could possibly save the Lady's life, but Lady Delacour notes sourly that the suggested operation cannot occur without the Lord's consent. In Chapter XV, Belinda reads a letter from her aunt suggesting that Belinda is behaving in an unladylike manner. The two argue bitterly over the letter, and Belinda leaves the house.

In Chapter XVI, Belinda goes to Lady Anne Percival and experiences domestic happiness in their home. Chapter XVII begins with a discussion between Belinda and Mrs. Freke, who spreads rumors about the relationship between Clarence Hervey and Lady Delacour. Belinda meets Mr. Vincent. In Chapter XVIII, Mr. Vincent draws attention to the obvious differences between the happy, domestic Lady Anne Percival and Lady Delacour, but Belinda quiets him by noting her friendship with Lady Delacour. Lady Anne Percival tells Belinda of Mr. Vincent's affection for her, and Belinda tells Lady Anne about Clarence Hervey. In Chapter XIX, Belinda learns of Lady Delacour's poor health and decides to return to her. In Chapter XX, Belinda is drawn back into the lives of Lady Delacour and Clarence Hervey. In Chapter XXI, readers witness the cold interaction of Lady Delacour and her daughter Helena.

Chapter XXII, titled "A Spectre," finds Lady Delacour attended by a surgeon. She prophesies that she will die that night and speaks of a vision that has visited her three times. The specter turns out to be Mrs. Freke. Lady Delacour learns that she will recover completely and that the bruise on her breast was not cancer after all. In Chapter XXIII, Lady Delacour is so grateful for her recovery and for the kindness of her family and friends that she reconciles with Margaret Delacour and becomes a happier, friendlier person.

In Chapter XXIV, the maid Marriott brings news that Clarence Hervey has deceived a young woman with a mock ceremony. Mr. Vincent arrives with an anonymous letter stating that Belinda is in love with Clarence Hervey; Lady Delacour blames Harriet Freke for the letter. In Chapter XXV, Marriott blames Mr. Champfort. It is revealed that both Mr. Champfort and Harriet Freke were responsible. Mr. Vincent pursues Belinda; Clarence Hervey arrives, and Mr. Vincent leaves in a fit of jealousy. In Chapter XXVI, Clarence tells his version of his relationship with Virginia.

Chapter XXVII tells the story of Clarence's growing affection for Belinda. He learns that Belinda and Mr. Vincent are involved. In Chapter XXVIII, Clarence meets with Lord Delacour, and Mr. Vincent is disturbed by Clarence's return; the two argue heatedly. In Chapter XXIX, Clarence reflects on Mr. Vincent's pronouncement that Belinda loves Clarence. Lord Delacour accuses Mr. Vincent of an involvement with Annabella. Clarence receives a letter from Belinda and leaves for Germany to ease the pain of her rejection. In Chapter XXX, Lady Delacour and Belinda discuss Mr. Vincent and Clarence Hervey. In Chapter XXXI, "The Denouement," Lady Delacour and Belinda go to visit Mr. Hervey and Virginia, and Hervey learns that Virginia is in love with an image in a photograph.

Maria Edgeworth: Life and Legacy

Maria Edgeworth was born in 1767 and lived almost her entire life on her father's land in Ireland. Edgeworth was clearly an early feminist, as her first publication, Letters for Literary Ladies (1795), argued strongly for women's education. Her novels depicted life in Ireland and include Belinda (1801), Castle Rackrent (1800), and The Absentee (1812), while her children's stories included Moral Tales (1811). She passed away in 1849 (Columbia Encyclopedia).

In her time, Maria Edgeworth was a well-respected and popular published author of some renown, commonly considered to be one of the Western world's best female novelists of the 19th century. The Columbia Encyclopedia notes, "Although her works are marred somewhat by didacticism, they are notable for their realism, humor, and freshness of style."

Women's Violence and Independence in Belinda

In many ways, Edgeworth's Belinda seems to flaunt 19th-century ideas about the proper behavior of women in society. In the novel, women conduct themselves with great violence and anger in their dealings with not only each other, but perhaps more surprisingly in their many interactions with the novel's male characters. However, even within Edgeworth's seeming refusal to play by society's rules, the women of her novel continue to be constrained in many ways.

Importantly, the arguments between Edgeworth's female characters are often larger-than-life and violent. Lady Delacour "absolutely seized" Belinda's letters in a seeming fit of rage and anger. Belinda, in response, attempts to physically restrain Lady Delacour's successful attempt to grab the letters. Even minor characters are bitter and aggressive, as the maid Marriott appears bent on blackmail.

The ultimate example of this violent female behavior is seen in the famed duel between Lady Delacour and her rival. Not only is the duel an ultimate expression of female violence, but it is also instigated through the clearly malicious intent of Harriet Freke. This malicious intervention showcases the ability of women to manipulate on a scale equal to or greater than that of the men in the novel. Eventually, the women are rolling on the floor and exchanging blows.

Arguments between male and female characters are also often violent and jarring. Lady and Lord Delacour speak bitterly and harshly to each other, revealing a true mutual hatred. Lady Delacour notes, "my husband hates me — no matter — I despise him. His relations hate me — no matter — I despise them" (Chapter I). Even though the two later reconcile, the intensity of this early animosity is memorable.

Even the women's reaction to this violence and strife is complex and understandable, rather than drawn in the purely emotional terms common to fiction of the day. In speaking of her ability to go through with the duel, Lady Delacour notes, "many would be cowards if they dared" (Chapter IV). Her description of her reaction to the appearance of her rival is equally sympathetic: "poetic justice, and all other sorts of justice, went clear out of my head, when I saw my antagonist and her friend, actually pistol in hand, waiting for us; they were both in men's clothes" (Chapter IV). She continues, "I was upon the point of making an apology, in spite of them all, when, to my inexpressible joy, I was relieved from the dreadful alternative of being shot through the head, or of becoming a laughing-stock for life..." (Chapter IV).

Throughout the novel, the young Belinda struggles with the idea of independence as she also looks critically at the institution of marriage. After meeting and living with Lady Delacour and witnessing their dysfunctional relationship and intense mutual hatred and disdain, the young Belinda is convinced that marriage is not necessarily the route to happiness. However, Belinda's time with the lovely and happily married young Lady Anne Percival begins to change her mind. Simultaneously, Belinda finds herself confused by the behavior of both Mr. Vincent and Clarence Hervey. She understandably finds the marriage market confusing and dispiriting, and genuinely considers independence as an alternative.

In 19th-century terms, Belinda's ideas about female independence mark a truly revolutionary vein of thinking, and thereby mark Edgeworth's novel as an important piece of feminist thought. Belinda's struggles are never treated as unusual (except by her disapproving aunt), and Edgeworth makes Belinda's difficulties with marriage seem natural and understandable.

Belinda's interactions with Lady Delacour reveal a great deal about Edgeworth's thoughts on the role of women in 19th-century society. In speaking of marriage, Belinda says, "Surely, your ladyship does not think...that a wife is a being whose actions are necessarily governed by a husband" (Chapter IX). Despite this relatively modern statement, the ideals of the time come through in Lady Delacour's perhaps surprising reply: "Not necessarily — but accidentally. When a lady accidentally sets up for being a good wife, she must of course love, honour, and obey" (Chapter IX).

It is important to note that the male characters in Belinda, specifically Lord Delacour and Lady Anne Percival's husband, are palely drawn in comparison to their interesting, complex, and vital female counterparts. While Edgeworth is masterful in detailing female sensibilities, she seems to value the male characters only as necessary bit parts. Even Clarence Hervey and Mr. Vincent seem to have little form outside of their relationships with the women. This is a notable flaw within the work, and it diminishes Edgeworth's credibility as a feminist who can clearly perceive the masculine point of view in any meaningful context.

Conclusion

In conclusion, Maria Edgeworth's novel Belinda is an important examination of women's roles in 19th-century Europe. Edgeworth's Belinda defies many ideas about the proper behavior of women in society, yet simultaneously does little to challenge the accepted roles of women within that same society. Furthermore, the relative modern neglect of Edgeworth's work may reflect a contemporary idealization of Victorian womanhood that her novel actively unsettles.

Works Cited

Columbia Encyclopedia. Sixth Edition, Copyright 2003. Maria Edgeworth. 07 December 2003.

Edgeworth, Maria. 1811. Belinda. A Celebration of Women Writers.

Le Faye, Deirdre. 1999. The British Library Writer's Lives: Jane Austen.

McCann, Andrew. 1996. "Conjugal Love and the Enlightenment Subject: The Colonial Context of Non-Identity in Maria Edgeworth's Belinda." Novel: A Forum on Fiction, vol. 30, no. 1, pp. 56–77.

Willis, Meredith Sue. Books for Readers Archives, Newsletter #6, April 2001. 07 December 2003.