Unmovable Foundations – Social Immobility in The Moonstone
When Gabriel Betteredge, the most predominant narrator in Wilkie Collins’ novel The Moonstone, describes women as “the weaker half of the human family” (Collins, p. 84), he reflects a sentiment that fuels the portrayal of female characters in the book. A close examination of the roles of Rachel Verrinder and Rosanna Spearman, and a brief look at the powerful role of Lady Verrinder, show a small-scale reflection of the roles of women in the general Victorian social structure. The roles of these women represent a small section of the general metaphor established in Collins’ work, which depicts in the Verrinder household a microcosm of nineteenth century British society.
From his first mention of her, Betteredge – the voice of this society - expresses his deep respect and admiration for his lady, Julia Verrinder, who he describes as the decision maker in her marriage, where she “took [Sir John Verrinder] to church to be married” and in her household. Lady Verrinder’s powerful and respected role reflects that of Queen Victoria, who as a female ruled an empire and was respected by her citizens. However, the fact that a woman held control of the British Empire did not mean that women in general society were looked on as equal to men in strength of character or respected for their intellect, and this is reflected in the depiction of the two women most integral to The Moonstone’s narrative – Rosanna Spearman and Rachel Verrinder.
Rosanna Spearman sits on bottom rung of the social ladder in the Verrinder household – she is a servant and as is stated bluntly by Betteridge, she “had been a thief” with “a most miserable story” (p.21). Despite her past, however, Rosanna is respected by both Lady Verrinder and Betteredge and even receives special attention and sympathy from these two. However despite the sympathy felt for her, through her actions and her demise, Rosanna’s character upholds the structure of a society in which a woman of her background who “ha[s] something that [is] like a lady, about her” (p.22) – something which isolates her from her peers – cannot survive for long. Rosanna’s obsession with Franklin Blake and all the actions she takes that result from that obsession, including taking her own life at the shivering sands (p. 157), exemplify the weakness of a woman in her position. Rosanna Spearman’s tragic end speaks the reality that overrules the faith of Lady Verrinder and Gabriel Betteredge – and respectable British society – in the possibility that a former thief bred out of extreme poverty could reform to fit into the honest role of servant in a respectable household. This truth not only upholds Victorian social structure, it negates the possibility of social mobility, a statement which is reflected in the revelation of the true character of Godfrey Ablewhite (p. 444), another character who fails in his attempt to move beyond his, or more specifically his father’s social rank.
By contrast, Rachel Verrinder is a part of the upper class of British society and stays within that role throughout the book. Despite her class, however, and the respect given to her by Betteredge and the other characters that surround her, Rachel’s character does not merit the respect of her writer or her readers enough to be given a voice. Rachel’s actions lie at the centre of the narrative – her perceptions and observations are integral to the progression of the plot, however Franklin Blake (and Wilkie Collins) do not place Rachel’s story among the many narratives which make up the story as a whole. This cannot be put down to a simple matter of gender, as Miss Clack is given the space to portray not only her experience, but also her opinions of her time spent with the Verrinders (pp.191-263). The juxtaposition of respect and silence portrayed by Rachel is representative of the place of women of her stature in Victorian society – although they were respected, they had little power to assert themselves in action or in words. This lack of power is further portrayed in the revelation that despite suspicions against her, Rachel has played no part in the theft of the Moonstone, and instead stood passively and watched as the stone was taken from her possession.
In a more modern world, the reader can ask why Rachel does nothing to stop the theft of her diamond if she bears witness to its theft and also why Rachel does not tell her own story. In Collins’ time, however, Rachel would and did not do such things – she merits her respect through her silent passivity, despite her “one defect” of “ha[ving] ideas of her own”, which Betteredge affectionately points out (p. 52).
The characters of Rachel Verrinder and Rosanna Spearman, despite slight deviations in suspicion and hope by those that surround them, both uphold the strict social structure of the society in which they are depicted, and in doing so contribute to a sense of the steadfast and trusted nature of this society as portrayed by Collins in the work as a whole.
Works Cited:
Collins, Wilkie. The Moonstone.
New York: Oxford University
Press. 1999.
From his first mention of her, Betteredge – the voice of this society - expresses his deep respect and admiration for his lady, Julia Verrinder, who he describes as the decision maker in her marriage, where she “took [Sir John Verrinder] to church to be married” and in her household. Lady Verrinder’s powerful and respected role reflects that of Queen Victoria, who as a female ruled an empire and was respected by her citizens. However, the fact that a woman held control of the British Empire did not mean that women in general society were looked on as equal to men in strength of character or respected for their intellect, and this is reflected in the depiction of the two women most integral to The Moonstone’s narrative – Rosanna Spearman and Rachel Verrinder.
Rosanna Spearman sits on bottom rung of the social ladder in the Verrinder household – she is a servant and as is stated bluntly by Betteridge, she “had been a thief” with “a most miserable story” (p.21). Despite her past, however, Rosanna is respected by both Lady Verrinder and Betteredge and even receives special attention and sympathy from these two. However despite the sympathy felt for her, through her actions and her demise, Rosanna’s character upholds the structure of a society in which a woman of her background who “ha[s] something that [is] like a lady, about her” (p.22) – something which isolates her from her peers – cannot survive for long. Rosanna’s obsession with Franklin Blake and all the actions she takes that result from that obsession, including taking her own life at the shivering sands (p. 157), exemplify the weakness of a woman in her position. Rosanna Spearman’s tragic end speaks the reality that overrules the faith of Lady Verrinder and Gabriel Betteredge – and respectable British society – in the possibility that a former thief bred out of extreme poverty could reform to fit into the honest role of servant in a respectable household. This truth not only upholds Victorian social structure, it negates the possibility of social mobility, a statement which is reflected in the revelation of the true character of Godfrey Ablewhite (p. 444), another character who fails in his attempt to move beyond his, or more specifically his father’s social rank.
By contrast, Rachel Verrinder is a part of the upper class of British society and stays within that role throughout the book. Despite her class, however, and the respect given to her by Betteredge and the other characters that surround her, Rachel’s character does not merit the respect of her writer or her readers enough to be given a voice. Rachel’s actions lie at the centre of the narrative – her perceptions and observations are integral to the progression of the plot, however Franklin Blake (and Wilkie Collins) do not place Rachel’s story among the many narratives which make up the story as a whole. This cannot be put down to a simple matter of gender, as Miss Clack is given the space to portray not only her experience, but also her opinions of her time spent with the Verrinders (pp.191-263). The juxtaposition of respect and silence portrayed by Rachel is representative of the place of women of her stature in Victorian society – although they were respected, they had little power to assert themselves in action or in words. This lack of power is further portrayed in the revelation that despite suspicions against her, Rachel has played no part in the theft of the Moonstone, and instead stood passively and watched as the stone was taken from her possession.
In a more modern world, the reader can ask why Rachel does nothing to stop the theft of her diamond if she bears witness to its theft and also why Rachel does not tell her own story. In Collins’ time, however, Rachel would and did not do such things – she merits her respect through her silent passivity, despite her “one defect” of “ha[ving] ideas of her own”, which Betteredge affectionately points out (p. 52).
The characters of Rachel Verrinder and Rosanna Spearman, despite slight deviations in suspicion and hope by those that surround them, both uphold the strict social structure of the society in which they are depicted, and in doing so contribute to a sense of the steadfast and trusted nature of this society as portrayed by Collins in the work as a whole.
Works Cited:
Collins, Wilkie. The Moonstone.
New York: Oxford University
Press. 1999.
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