Victorian Men

I realized I have discussed some of the gender issues for Victorian women in The Moonstone, but there are also issues for the men.

The two young cousins Franklin Blake and Godfrey Ablewhite are typical of upper middle class men. Franklin we are told has spent through the money he inherited from his mother and has debts but he also has expectations from his father. He has been educated abroad because of his father's eccentricity but it is also clear that his education is the more bohemian of the two cosuins. He describes living with an artist in Italy and learning the decorative painting and creating the medium for paint while being there. His opinions at dinner are also more Bohemian. Even his facial hair would be considered Bohemian. (I have to admit that when I came to watch rehearsal and the actor playing Franklin Blake had a beard I was delighted both because it is how he is described in the novel and it is so appropriate to the character.) Even the cigars that Franklin smokes are considered gentlemanly while the clay pipe smoked by Betteredge would denote a servant.

In fact, Collins and a friend grew beards in advance of a trip to the continent because they thought they it would help them blend in. Blake's study of art is not unlike a trip Collins took to the continent with his painter father and the rest of the family when he was a teenager.

His cousin Godfrey is in similar but a slightly less advantageous situation. His father is more self-made and runs the bank in Frizinghall. He speaks of affording his "little lodging" and "two coats a year." He is a Barrister and active in religious and social organizations his ladies groups. In early drafts it is clear that Collins considered making Ablewhite a clergyman perhaps involved in reformatories like the one to which Rosanna Spearman was sent. Some critics believe Dickens may have asked him to "defrock" the clergyman before the story went to print.

Blake and Ablewhite present two competing ideas of masculinity in the era and yet both are still could be somewhat standard Victorian men.

Marriage for both men had certain challenges. The Victorian upper classes had certain expectations about the standard of living necessary to support a wife. Both are eligible bachelors but if Blake were disinherited his situation would become more problematic. Ablewhite would need to marry a woman of sufficient income to aid his own

contributions.

Another model of the Victorian male is the traveler and adventurer Mr. Murthwaite. Valued for his cache as a guest with exotic stories at social gatherings Murthwaite is valued both for his adventures and by his desirablity as a guest. The most celebrated Victorian traveler was Sir Richard Burton (pictured at left) although Collins never met him. He did know Sir Austin "Layard if Ninevah" and asked his friend John Wyllie, who had recently from India for details.

The other male characters are professionals. Mr Bruff who is the family solicitor, Mr. Candy the family Doctor who would have been respected men and intimates of the family.

These shifting categories become less clear when we get to Sergeant Cuff (also discussed in another post) who would have risen to prominence likely out of the working classes. His presence in the home would denote a scandal so in spite of his successes he would not have been a welcome guest.

Mr. Ezra Jennings has a similar lot. He should be a respectable member of the professional classes but the rumors that have plagued him and his appearance with the implications of gypsy blood and foreignness have made him a questionable figure.

Mr. Septimus Luker is a money lender. (His name puns on lucre from the Latin word for money but generally with connotations of money that has been ill gained.) Luker, who like all money lenders, makes his money by lending money to those in dire situations with a pledge of a valuable that he may get to keep if they can not repay the amount with a high rate of interest in a set period of time. He would certainly not have been admitted into polite society but would have been made use of both by fences and thieves and the upper classes who may have wanted a discrete way to acquire funds.

Sets and Settings

Since I have a snow day it seemed fair to catch up on a post I have been intending to write for a while.

Last week I got to see the actors on the skeletal structure of the set. It is always exciting to see a play move from the rehearsal room to the performance space even if all the magical technical elements are not complete. I am always impressed with the way Lifeline's small theater is transformed, and in this case how vast the space feels and how well it holds the many actors.

In spite of weather difficulties the show is currently "in tech" which means all the technical elements are being added and there are some impressive things that will be going into this production but I don't want to give any spoilers.

Instead, I thought it might be worth talking about the locations in

The Moonstone.

Apart from the history of the stone in India and the Siege of Serringpatam, which was discussed in another post, the story starts in Yorkshire in the north of England which is known for its moors (pictured above).

There is not a "shivering sand" or quicksand in Yorkshire but Collins had taken up sailing and purchased books on geography and navigation. There is a "shivering sand" on a Thames estuary north of Herne Bay (I don't know if the

Herne there connects with the naming of Herncastle or if some critics have suggested that is tied to the mythological figure of Herne the Hunter, who haunts the Windsor woods, or if in fact all three are connected or not related at all.)

There is a sandsend near Whitby (pictured at the top) which may suggested as the general vicinity of Frizinghall. Collins had also paid a visit to Richard Monckton Milnes at his home Fryston Hall (pictured at right) which is in Yorkshire so this may have also been a source of inspiration for the location.

Whatever its source Yorkshire has an isolated, haunted atmosphere that Collins uses effectively in the opening part of The Moonstone.

Similarly London is used to great effect in the later half of the novel. The bustling crowds and mix of a variety of classes and peoples in the streets of London provides the perfect cover for passing stolen goods from person to person.

Science and Pseudoscience in The Moonstone

The Moonstone offers an interesting mix of the scientific and the mystical. It is worth noting that Victorians were inhabiting a time in which both science and various researches into parapsychology were both prevalent and that sometimes little distinction was made between the quality of research or legitimacy of either. In fact the two texts Ezra Jennings offers as support for his experiment are Carpenter's Human Physiology and John Elliotson's Human Physiology. Critics Jenny Bourne Taylor and Alison Winter have pointed out that thought the titles are are the same Carpenter was a respected psychologist awhile Elliotson was a marginalized advocate of mesmerism.

Somnambulism (sleep-walking), animal magnetism (from the French term Mesmer used to refer to the magnetic animating force which animates both humans and animals), Mesmerism (from Franz Mesmer a German doctor who believed energy could transfer between animate an inanimate sources, phrenology (which involved reading bumps on the skull) and clairvoyance (from the French words for clear and seeing was referred to second senses) were all areas of research and public interest.

(Just for fun (though it is quite a bit later than the Collins novel) a 1903 volume: Complete Hypnotism, Mesmerism, Mind-Reading and Spiritualism by A. Alpheus for those who might want to try some table-tipping or mind-reading at home).

All of these are of particular interest to The Moonstone since both are used in the solving of the mystery. We have examples of early forensic evidence: the smeared paint on the door, the garment that smeared the paint, the footsteps in the sand, a gold thread are all key to deciphering the mystery. Also the collection of testimony and each character being limited to his or her personal knowledge rather than relying on heresay have become such mainstays of mysteries and police procedural dramas that as a modern audience we hardly notice them.

It is also worth noting Collins interest in spiritualism. He claimed he was frequently mesmerized by one of his mistresses, Caroline Graves, to ease his pain. He recounted his experiences including magnetized glasses of water and 'sensitives' seeing the future in an article called "Magnetic Evenings at Home" which ran in The Leader.

At the same time, there is a great interest in science. Darwin's The Origin of Species was published in 1859. Trains were revolutionizing the existence of Londoners, new anaesthetics like ether and chloroform would replace hypnosis as a form of anaesthesia.

This duality that runs throughout the story allows Collins to have it both ways. The celebrated detective can trace the time the paint was smeared, but the moonstone might be cursed. An important step in solving of the mystery is a controlled experiment in sleep waking and talking under the influence of an opiate. It is both a scientific experiment and questionable, as is expressed by both Cuff and Betteredge. This layering makes of levels of mystery that resound on a more psychological level.

The Moonstone: Diamonds with a Less than Brilliant History

It is impossible to talk about The Moonstone without addressing the mysterious stone itself. It is described as a large yellow diamond taken from the forehead of the Hindu god of the moon. In the book it is valued at 30,000 pounds. For a time Collins considered having the stone come from a statue of a snake and the tentative title of the book was The Serpent’s Eye.

In spite of the fact that the stone appears only briefly in the story before it disappears it has a long and violent history. Collins also seems to have based the stone on a number of famous diamonds. Collins took notes on gems from The Natural History of Precious Stones and Gems that had been published in 1865. Collins preface actually refers to both the Koh-i-Noor diamond and the Orloff diamond.

The Koh-i-Noor diamond (pictured at above) or "Mountain of Light" as it was called has a dark history. It was discovered in 1655 and was given to Shah Jahan, the Moghul Emperor and passed through the hands of numerous rulers. After the British military, on behalf of the East India company thwarted a Sikh uprising in 1849 the diamond was taken from Maharaja Dhulip Singh in tribute. The East India company then gave the stone to Queen Victoria on July 3, 1850 and was displayed at the great exhibition of 1851 so many of Collins readers would have seen it. Many viewers at the exhibition were disappointed by the appearance of the stone since Indian custom required the stone to be kept in its natural state. It was only after the Exhibition that the stone was cut in Amsterdam and took on the appearance above, the largest of the pieces and a "jewel of the crown." As a sacred gem the Koh-i-Noor was supposed to bring a curse on anyone who took and misused the stone.

The Orloff diamond is the other source for the moonstone and has a particularly sordid history. It was famously taken from the eye of a Brahman statue by a French soldier who was supposed to have ingratiated himself with local priests and pretended to adopt their religious beliefs before stealing the stone. It was then stolen from the soldier by a ship's Captain who sold the stone to Prince Orloff who gave the stone to Empress Catherine the II and it was placed on the imperial scepter.

The Pitt diamond is another source of material for the moonstone. Collins was a frequent guest of Sir George Russell and heard stories of their family heirloom, the Pitt Diamond. Another potential source was the family diamond of Charles Reade which had been brought home from India by his brother. Collins apparently had one of his mistresses, Martha Rudd, copy out a passage on the Pitt diamond from The Natural History of Precious Stones and Gems. Governor Pitt was deeply afraid of the diamond being stolen that he did not sleep in the same bed twice in a row and would never give notice if he was coming to town so as not to alert anyone to the possible presence of the stone.

The Pitt diamond had its own sordid history. The man who found it cut a gash in his leg to conceal the stone. An English captain lured him onto his ship with promises of finding a buyer and took the stone and threw the man overboard. The sea captain in turn received only 1000 pounds for the stone which he quickly spent then hanged himself. The diamond was taken from Pitt by the French Regent, the Duke of Orleans who sealed the stone and other valuables in the Commune of Paris but when they went to open the seals they were found to be already opened and the diamond stolen. Aspects of this story clearly make their way into the story of the Honorable John Herncastle.

Although most scholars do not seem to suggest that the Hope diamond was used by Collins as one of his models for the Moonstone, it is worth mentioning this famous blue diamond with another complicated history which starts with it being stolen from and Indian statue and ends with the stone being cursed, although some assert that most tales of curses are fabricated to enhance the value of a gem.

The supposed mystical aspects of the diamond are also referenced in passing by Collins. Betteredge calls it a cursed diamond. The attachment to the Indians their religious ceremony and the Indians use of divination to find the stone all tie in with the curses that such famous stones are alleged to carry. Also stones were sometimes believed to be used as a means of divination

Finally, Collins becomes the source for later mystery novels involving the theft of a gem with a violent history, Most notable. Conan Doyle's Sherlock Holmes mystery The Blue Carbuncle.