Tag: feminism

  • Far From The Madding Crowd Book

    Far From The Madding Crowd Book

    Far From the Madding Crowd book is an 1874 novel by the English novelist and poet Thomas Hardy. It is one of his notable works, and the title comes from a poem by Thomas Gray. The novel’s main character is Bathsheba Everdene, and the events take place in the rural southwest of Victorian England. 

    Far From The Madding Crowd Book countryside
    Image by Prawny from Pixabay

    The beginning of Far From the Madding Crowd book

    Far From The Madding Crowd occurs in rural Victorian England. Bathsheba Everdene is an independent and unconventional girl who does not dream about marriage. In different occasions, she had met Gabriel Oak, a shepherd who falls in love with her. Bathsheba inherits the farm of her late uncle, farmer Everdene, who was “a very good-hearted man”. Her parents were “towns-folk”, and they died years ago leaving the girl an orphan. Bathsheba makes the acquaintance of Mr Boldwood, who is a handsome and rich gentleman-farmer. In the past, Bathsheba refused the marriage proposal of Gabriel Oak, believing that he was not quite good enough for her, even though she “rather liked Gabriel”. Although Beersheba is not familiar with a farm’s administration, she gathers all her workers announcing her intention to do her best and help them if they were serving her properly. For Bathsheba being a woman is not a limitation. Indeed she is an agriculturist and the responsible and manager of the entire farm. 

    Far From The Madding Crowd Book countryside
    Image by Prawny from Pixabay

    Life in Weatherbury Upper Farm and beyond

    With the time Bathsheba acquires confidence in her business, talking boldly to men. Bathsheba is firm, but not obstinate; in fact, she is flexible and sometimes naive. The beauty of Bathsheba is magnetic and charismatic, and it is manifest even as mistress of a farm and house. Meanwhile, Fanny Robin, who is one of the servants of Bathsheba, secretly went to meet her lover, Sergeant Frank Troy, who is a boaster and poser. The “honest” Frank tricks Fanny, letting her believe that he would marry her when his intentions are merely the ones of a skilful player. The charm of farmer Boldwood struck Bathsheba even if William appears as an indifferent and reserved person. Nevertheless, when he makes her an offer of marriage, initially she refuses because she is not in love with Mr Boldwood.

    Far From The Madding Crowd Book house style
    Image by Prawny from Pixabay

    As time passes in Weatherbury

    Weatherbury was immutable in comparison with cities. In Weatherbury, the passing of time was unchangeable, and the ageless life had a sort of staticity. Furthermore, as time passes, different unexpected events occur in the life of Bathsheba Everdene. In a night, Bathsheba runs into Frank Troy, who was wandering in her land. The crafty Frank skillfully knew how to get the attention of Bathsheba. Indeed, he was a master in boasting and deception. Hence, he started to flatter her with compliments and sweetish gallantry, unlike Boldwood, who had never told her she was beautiful. Sergeant Troy was a lier with women and relatively honest with men. For instance, “he could speak of love and think of dinner; call on the husband to look at the wife; be eager to pay and intend to owe”. Although he firmly believed that while interacting with women “the only alternative to flattery was cursing and swearing”. 

    Image by Prawny from Pixabay

    The Queen of the Corn-market in love

    Sergeant Troy starts to work as a farmer in the fields of Bathsheba, and they meet on other occasions. Bathsheba is in love with Frank Troy and as strong woman she throws away her strength. For the first time in her life, she embraces a woman’s weakness having discovered the “true” love; hence she is twice as weak as the other women. In a certain way, Bathsheba refuses to control her feelings and behave carefully. The ostentatious charm of Troy is manifest plainly, but his “deformities” are well-hidden. Differently, Oak’s defects cover his virtues. In this moment of apotheosis of love, Bathsheba gets rid of Gabriel and rejects Boldwood’s proposal. She blames herself, believing that “love is misery for women always”. Bathsheba is obstinate in her blind love, firmly being sure that Troy is a good and wildly steady man.

    Image by Prawny from Pixabay

    A wedding and a storm

    In Far From the Madding Crowd book, the author often describes the beauty of nature in Weatherbury as seasons change. It is amiable to wander with the imagination in this landscaped novel. In this book, the characters have multifaceted traits on different occasions as the several shades of colour in the countryside’s beautiful nature. Bathsheba and Frank get married, and suddenly Frank assumes the features of the arrogant landlord. When a big storm wrapped the farm in a night, “Love, wife, everything human, seemed small and trifling in such close juxtaposition with an infuriated universe”. That very night, Bathsheba found herself alone with Gabriel. At the same time, “the sky was now filled with an incessant light, frequent repetition melting into complete continuity, as an unbroken sound result from the successive strokes on a gong”. While Gabriel Oak is always supporting Bathsheba in the most adverse moments revealing himself “generous and true”, her husband, Mr Frank, never cared for Bathsheba. That very night he went to sleep being drunk after a hangover.

    Image by Prawny from Pixabay

    Bathsheba’s anguish

    Bathsheba finds out the truth about her husband’s past relationship with Fanny Robin. Her despair enhances after Troy’s confession; indeed, he does not consider her as a wife anymore, rejecting her. For the first time in his life, Frank Troy hates himself feeling miserable, and he decides to leave the village. Bathsheba never embraced the idea of marriage, like most women. Indeed, she had married Troy in “a turmoil of anxiety and emotionality”. She had always been an independent girl, and now she regretted to had become “the humbler half of an indifferent matrimonial whole”. With the time, indifference overcame Bathsheba Everdene, who contemplated her fate as a “singular wretch”. Dark were her prospects as her original traits of youth deteriorated in cold indifference. It was like she was waiting for her end, accepting her inexorable fate. 

    Image by Prawny from Pixabay

    The madness of Boldwood in Far From The Madding Crowd book

    The obsession of Boldwood over Bathsheba led him to madness at the point of forcing her to promise to marry him. Since William Boldwood makes Bathsheba feel guilty for having “tricked” him, he doesn’t give her a moment of peace. He is pushy in asking her forcibly to marry him. And the guilt inside her pushes Bathsheba to force herself to accept the “proposal”. Also, she is frightened by his madness, and she was “in a very peculiar state of mind, which showed how entirely the soul is a slave of the body”. The blankness and dullness of Boldwood’s life is a significant reason to focus on Bathsheba obsessively, being his mind completely insane. And “his natural manner has always been dark and strange”. His madness reaches its apotheosis when he shoots Frank Troy, who came back after a long disappearance to get his wife back for financial reasons. Both Troy and Boldwood disappear from the life of Bathsheba, leaving her in peaceful freedom. 

    Image by Prawny from Pixabay

    The happy end of Far From The Madding Crowd book

    Far From The Madding Crowd is a novel with a happy ending, and it deserves a reading to discover it. Indeed, after a long period of loneliness, Bathsheba starts a new life. This pastoral and historical novel is a tragicomedy. The characters of Boldwood and Troy are somehow caricatural and ridiculous in their tragedy. Even if, at the beginning of the book, Bathsheba is an independent, cheerful and careless girl, her magnetic beauty is the cause of her downfall. She falls in a pit of anguish and despair as soon as she gets involved with Boldwood and Troy. Indeed, Miss Everdene had lost the whimsical feature to become a wise and humble girl with the time. Although the Bathsheba Everdene is a woman who endured abusive relationships, she begins a new life. Even though the novel occurs in the Victorian age, the heroine is an educated and independent girl, who becomes manager and mistress of a big farm at an early age.

    Image by Prawny from Pixabay

    The unusual heroine of Far From The Madding Crowd book

    Bathsheba Everdene is the unusual heroine of a Victorian novel, a powerful and talented woman in the rural Wessex. Thomas Hardy associates her to the Greek goddess Diana, the goddess of the countryside and wilderness. Indeed, in this pastoral tale, Bathsheba is the personification of Diana. She is hardworking, fierce and brilliant. Nevertheless, she falls in a trap when she meets Troy, who deceives her. Bathsheba doesn’t follow the conventional rules of her period. Indeed, she doesn’t want to marry like the other women. Bathsheba desires to pursue the business of her farm. She trades with men, and she is unafraid to inspect the factory alone at night. Even if she is wealthy, she gets up early every morning and fulfils her tasks as a sovereign manager, taking full responsibility of the farm. Thomas Hardy was a feminist in the Victorian age, which represented the “Age of Reform”. I’ve read this digital edition in Apple Books. 

  • The Life Of Effie Gray Millais

    The Life Of Effie Gray Millais

    Effie Gray Millais’s life is the main subject of the book “Effie: The Passionate Lives of Effie Gray, John Ruskin and John Everett Millais” by Dr Suzanne Fagence Cooper. It is the ninth book in my second list of readings.

    The country side of Scotland where Effie Gray spent most of her life

    The Life of Effie Gray and John Ruskin

    This book is not a novel but a reconstruction of the life of Euphemia Chalmers Gray. The book starts on the cold morning of Tuesday, 25 April 1854, when Effie escapes her abusive marriage with the art critic John Ruskin. John reserved all his attention on art, not people. He was excessively attached to his parents’ house and his books. Nevertheless, John became a celebrity because of the book Modern Painters. Charlotte Brönte and Elizabeth Barrett Browning were very fond of his book. Effie ran away from an exhausting and unnatural relationship where her husband believed she was inadequate as a future mother. The Ruskin family thought that Effie was a wicked and reckless woman. Until 1857, only the Parliament could grant a divorce in Victorian England. As an ambitious wife, Effie wished to promote her husband’s career. 

    The New Life of Effie

    Effie’s life was challenging because of the oppressive social traditions and her loveless marriage with Mr Ruskin. Sadly, in the Victorian era, women could not vote, own properties, or take legal action against someone. Moreover, a wife had no ownership of her clothes and jewelry. Most women could not leave their marital house even when mistreated and abused, mainly because of the lack of financial support. In case a woman was leaving her husband, he could take her home against her will and might rape her with impunity. After six years of a distressing relationship, the Ecclesiastical Courts decided to annul the marriage because Effie and Mr Ruskin never consummate their relationship. After resting in her parent’s house, Effie married the painter John Everett Millais.

    A Portrait of Effie Gray

    Effie was a beautiful Scottish girl with auburn hair, entertaining and elegant, with many admirers even after her marriage to John Ruskin. Mr Ruskin was not concerned, having lost interest in his wife. Since her youth, Euphemia was attentive to her clothes, taking care of every detail. Effie was a determined woman with an independent spirit. She wrote several letters to her parents with rapid handwriting, giving a glimpse of sixteen years of Victorian life. Effie had witnessed events, but this woman changed the idea of Victorian femininity. She regained control of her life, refusing to bear a physically and emotionally abusive relationship. Euphemia did not fit in the Victorian standard of a fragile woman. Indeed, as a well-educated girl, she was fluent in French, a quick learner, and a piano player. She enjoyed riding and dancing and was far from the delicate Victorian femininity.

    A Portrait Of John Ruskin

    When John met Effie for the first time, she was twelve, and he was fond of her. As she grew up, he appreciated her wit and beauty. Before meeting Effie, John had been fascinated with a young girl “fresh from convent school.” Mr. Ruskin generally loved innocent young girls “on the verge of womanhood.” This side of John could be why he could not consummate his marriage with Effie because she was nineteen then. He found that Effie aging had lost her original good look and considered her too old to be desirable. John Ruskin was a “damaged genius” who elicited admiration from many notorious personages. John captivated Effie’s attention because he was improving her mind with books and pictures. However, during their engagement, John demands Effie learn how to be disciplined, fulfill all his desires, and please him. He asked her to improve her French and study Italian and botany to help him with his research. However, John Ruskin was sensible and passionate about arts, nature, and beauty, even though he ignored Effie’s needs.

    A Portrait Of John Everett Millais

    Everett Millais started his studies at the Royal Academy when he was eleven. He became part of the Pre-Raphaelite movement, which aimed to return to the Quattrocento Italian art. They were not interested in the conventional beauty of Renaissance art, such as the one portrayed in Raphael’s paintings. They wanted to connect to nature; natural details were not missing in Millais’s paintings. He portrayed Effie, focusing on her character strength, determination, and emotional struggle rather than her beauty. In that period, he fell in love with Effie, even though she was still John Ruskin’s wife. Everett knew the secret behind her marriage with Mr Ruskin.

    Effie And Everett Millais

    In 1855, Effie and Everett married, and they had several children living a happy marriage. Starting in 1870, Everett became one of Victorian England’s most prominent and wealthy painters, and Effie managed the social relationships. She supported and encouraged his career, organizing parties where patrons commissioned portraits. Effie was excellent in social life, meeting a lot of actors, nobility, painters, and artists. Nevertheless, her first marriage damaged her reputation. Indeed, even the Queen refused to receive her at Court because most people unfairly considered Effie as the wife of another man still living or a divorced woman. Effie and Everett had eight children. Everett Millais, who belonged to the Pre-Raphaelite artistic group, adopted a looser and hazy brushwork years after marriage. Unlike the other painters, he looked more like a well-dressed and handsome businessman. 

    The Busy Life Of Effie And Everett

    During her marriage with Mr Ruskin, Effie had to pretend the fiction of a “normal” marriage. While she was arranging teas, she was exhausted. On the contrary, she could fulfill her dream of a happily married mother after marrying Everett Millais. Euphemia managed the household, being a brilliant hostess of crowded evenings with international celebrities. She gave birth to eight children, who followed different paths. Even if Everett’s works were in great demand, the Pre-Raphaelites distanced themselves from his art as soon as he married Effie. He became the wealthiest painter, and his art portrayed moods and characters. Unlike the other artists, “Everett did not conform to the image of an artistic rebel.” His acquaintances and friends described him as a “boyish, jolly, straightforward and true Anglosaxon.”

    The Social Life Of Effie And Family Travels 

    Effie had good social communication skills and knew how to negotiate with patrons. In 1877, the Millais family moved to a mansion in Palace Gate, where Everett’s big studio was always full of patrons, friends, nobility, and celebrities. Now, the guests could enjoy his paintings cozily. Behind this beautiful facade, Effie suffered because of her past marriage with Mr Ruskin. Indeed, many people called her “the wife of two men”; hence, Queen Victoria refused to receive her because of Palace protocols. Since Effie was John Ruskin’s wife, she visited Paris and Venice. Furthermore, even after her marriage to Everett, she continued to travel with her children in Europe. Since the mid-1860s, her brothers George and John emigrated to Australia, and her son Evie also went to Australia. Later, one of Effie’s daughters, Mary Millais, sailed for Australia and New Zealand. During her visit to Sidney, Mary could admire one of his father’s paintings, The Captive. Mary’s next trip was to Melbourne, where part of Everett’s family lived.

    The Tower of London, city where the life of Effie Gray changed

    Effie And the Suffragism

    While some of Effie’s children were abroad (Mary in Australia, Geoffroy in Wyoming, and Evie in Paris), she continued to divide her time between her household and Everett’s studio’s management. Meanwhile, her youngest daughter, Tottie, was influenced by Louise Jopling, a great advocate for women’s education. In 1887, Louise founded her art school for girls and signed a petition to let women vote. Suffragists advocated for equal electoral rights to elect a Member of Parliament who would represent their interests. In 1885, the foundation of a ladies’ wing of the Primrose League was established. Moreover, after Everett’s baronetcy, Effie became Dame of the League. Tottie Millais followed the New Women’s movement, a group of young women with high education who lived independently, smoking and wearing masculine clothes. These “Manly Women” with short hair strolled with their dog and a walking stick. Victorian society considered this behavior as transgressive sexuality. However, even after the Matrimonial Causes Act’s approval in 1857, men kept their power in conjugal life.

    The Last Period Of Everett and Effie’s Lives

    Everett used his motto, “Ars Longa, Vita Brevis,” mostly after the death of their son George and their granddaughter Phyllis. Effie had the merit to contribute to transforming a bigot Victorian society. She stood against the conventions, refusing an abusive marriage. She showed how a woman could be in control of her life. Nevertheless, slander and false rumors were against her. Another tragedy happened in their life of Effie the death of her younger sister, Sophie Gray. Several times, Sophie modeled for Everett because of her extraordinary beauty and her patience while modeling. A controversial painting is her 1857 portrait, where Everett emphasized her sensuality and beauty. She died of anorexia and depression. It is not clear what her relationship with Everett Millais was; it could be that Sophie was in love with him. At the age of sixty-six, Effie lost her mother, Sophia Gray, and with age, she became blind with general soreness.

    Westminster Abbey, architecture, England, Gothic church, Gothic style, London, where Effie Gray spent part of her life

    The Deaths Of Everett and Effie Millais

    In 1885, Everett became a baronet; in 1896, he became President of the Royal Academy. Sadly, he had throat cancer, and while he was dying, the Queen finally received Effie as Lady Millais. After Everett’s death, Effie retired with her brother George at Bowerswell, at her late parents’ house. After her eldest son, Evie, died from pneumonia at the age of sixty-nine, in 1897, Lady Effie Millais died of bowel cancer. “Effie: The Passionate Lives of Effie Gray, John Ruskin, and John Everett Millais” is a beautiful book that gives a perspective of the Victorian era from an artistic and social perspective. I have read the digital edition of this book, and you can also find the audiobook

  • A Feminine Mistake

    A Feminine Mistake

    Some women perpetuate a feminine mistake identifying the femininity with features such as submission, fragility, dependence, tenderness and frivolity. I consider it an insult to women who studied and worked hard all life long. I think that these are the concepts of a patriarchal culture which leads to abuses against women.

    Unfortunately, even nowadays, some women firmly assert that femininity involves submission and passivity. Moreover, in this perspective, a woman has to be delicate, soft and “decorative” such as an ornamental flower plant! Women are not ornaments! 

    The assumption that a woman belongs to the weak and fragile gender belittles the feminine role in our society. And this feminine mistake goes along with the woman exploitation. The vision of a woman cleaning, cooking and obeying to her partner’s orders, misleads and contributes to building negative stereotypes.

    Although I wear dresses and makeup and have long hair, I cannot affirm that I’m feminine if this term encloses such negative connotations. Being a refined and feminine woman because of an aesthetic appearance could be deceiving. In these terms, I’m pretty puzzled when it comes to defining my personality. I believe that definitions and labels can be restrictive and dangerous.

    Moreover, I think that my being feminine is related to my strength rather than to my fragility. I don’t feel feminine when femininity involves the concept of masculine domination and violence acceptance. This toxic femininity leads to misogyny and repression. It is misleading and wrong to expect that a woman has to be always beautiful, well-dressed, and wearing makeup and jewellery. 

    In social media, there are many profiles of women whose content is very superficial and ordinary. They strive to expose their body as much as possible. Some of them deform their faces with fillers, and honestly, they seem to be very similar. Their life is devoted exclusively to their shallow vanities. Women are not beautiful statues in a museum nor dolls! Women are better than that, and I would love to see more empowered women!

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