Before I wax analytical with this response, I would like to make a small point. While The Seamstress; or the White Slave of England, etc. would not to be classified, at least in my mind, as a piece of Great Literature (whatever that means), I did enjoy reading it. The identity of the true criminal was something of a surprise for me.
For the remainder of this post, I would like to discuss the use of unconscious physical responses as markers of virtue, particularly in Virginia. Throughout The Seamstress, Virginia breaks into sobs in practically every chapter in which she appears. Her "flush[es] of virgin pride" are also quite frequent (43). The argument that I will develop by examining a few scenes is that Virginia's crying and blushes are physical signifiers of her virtue. This assertion is borne out by the first encounter between Virginia and Mr. Lavenham. When Mr. Lavenham questions Virginia's virtue and ability to refrain from falling prey to the charms of the Marquis of Arden, she bemoans the fact that "no faith [is] put in virtuous intention!" and sets to crying (15). In response, Mr. Lavenham states, "Well I would rather have your indignant grief as an answer to the question I put to you, than a mere verbal protestation which might as well be false as true" (15). Virginia seems to have a habit of responding with tears to any questioning of her virtue or pure motives. Romantic attention results in Virginia blushing, "[a] deep blush spread rapidly over the countenance of Virginia,—the blush of maiden confusion, as she thus acquired the certainty that the elegant stranger was indeed gazing upon herself" (14).
Of course, the notion that the upright maiden would automatically and unconsciously respond to assaults on her virtue with blushes and tears is nothing new. However, I would like to contrast these tears with the emotional displays of Clementine. As Clementine is priming Virginia with the sad tale of her fallen (but fictional) sister, we see evidence of her prevarication. For example, Clementine speaks of her sister while "suddenly assuming a melancholy look and heaving a profound sigh" (63). Furthermore, the narrator calls this display "the little piece of successful acting with which the wily Frenchwoman had commenced her part" (63). In contrast, Virginia sincerely weeps at the fictional sister's fall. While Clementine is a skilled actress, we see Virginia's tears, figured as beyond imitation, as evidence that she is "artless" and full of honesty and virtue. The text suggests that no matter how well one may act, there are always certain signs of purity and virtue which cannot be feigned.
I really like your formulation that "unconscious physical responses [are] markers of virtue." The "unconscious" part, as you argue later, is crucial because it indicates sincerity. This is a key trope of melodrama.
ReplyDeleteI'm glad you enjoyed reading this! Not great aesthetically, as you say , but fascinating in its own way.
Jonathan,
ReplyDeleteI think you make a good point by identifying Reynolds attention to the issue of the authenticity of virtue. Another way to look at her delicate nature and emotions, while simultaneously being virtuously strong, is by viewing Virginia as a melodrama heroine. She has to be the purest, the most beautiful, the most sincere, and very delicate so that she can stand apart from the crowd. As the melodrama heroine, she represents the good and the moral in a world fraught with dangers and evil. As the moral good in the story, anyone who questions her obvious virtue and position in the story does her a great insult.