Depictions of Beauty in the Even victorian Era
Absent Works Reported
"What can be beauty anyway? There's no this kind of thing. " (Pablo Picasso)
The Victorians' obsession with physical appearance continues to be well recorded by students. This was a society by which one's apparel was an instant indication of what one did to get a living (and by file format, one's train station in life). It was a new, as David Reed describes, "where issues were as they seemed" (312).
So it is unsurprising to find which the Victorians also placed wonderful faith in bodily presence. To the Victorians, a face and figure could disclose the inner thoughts and emotions of the individual as reliably because clothing suggested his job. There is considerable evidence of the pervasiveness with this belief in the literature from the period. According to Reed, "Victorian literary works abounds with expressions of faith in physiognomy" (336). This individual quotes a passage via Charlotte Bronte's Jane Eyre to confirm the point: "Jane Eyre, for instance , trusts her initial notion of Rochester, whose brow 'showed an excellent enough mass of intellectual organs, but the abrupt deficiency where the cansino sign of benevolence really should have risen'" (146; ch. 18, Reed 336).
In the Even victorian novel, appearance was a major means of portrayal (Lefkovitz 1). A main character or heroine's beauty (or lack thereof) was probably the most important aspect of his or perhaps character. Because Lefkovitz highlights, beauty is usually culturally described. How in that case, did the Victorians determine it?
For women, that definition is a odd mixture of beliefs. The Victorians admired the strong, satisfying, statuesque lady (modeled upon Queen Exito herself) plus the weak, fainting beauty, who also Lefkovitz uses the French word mourante to define: "dying, languishing, expiring, fainting, fading" (36). The previous type was most well-liked in the first half of the hundred years, according to Federico:
A woman's human body in the 1st decade from the century was... under substantial scrutiny, and the ideal against which she was measured was taller and statuesque, stately, graceful, refined... few things are considered and so outre [excessive] as a slimmer waist, as the en bon point is the ne in addition ultra [utmost level; meaning a towering, powerful-looking woman] of womanly proportions. (30)
Many authors embraced this strong, sculpted, large-bodied woman type, only when to use her as a assessment to the more delicate beauty that shot to popularity later. In respect to Lefkovitz, the two conferences meet (and clash) in George Eliot's Adam Invitere: "Bessy Cranage.