Gwendolen Fairfax

Gwendolen Fairfax

1. Langauge

   • Despite adopting them herself lat, Gwendolen's presented understanding of cliches of speech reflects her upbringing in sophisticated society with Lady Bracknel's dominating presence
     • Periphrastic language (serves no function and expresses no information) able to both take part and recognise it.
       • P15 J: 'Charming day....' G: 'Pray don't talk to me about the weather Mr. Worthing. Whenever people talk to me about the weather, I always feel quite certain they mean somthing else.'
       • p48 'Are there many interesting walks in the vicinity, Miss Cardew?'
         • 'The suspense is terrible. I hope it will last.' p67
   • The female characters (except Prism) do not stutter or loose control of articulation as Jack and Algernon do in places, more formidable and confident in expressing views acceptable within society, also do not lie as much (because allowed less freedom) so less emotional repossess to reflect in language

2. Attitudes

   • Love and marriage
     • Gwendolen only character in the pay brought up in traditional family structure, has these values, though inverted in regards to gender role.
       • Controlling, sees marriage in aesthetic, but also morally correct terms, 'I adore you. But you haven't proposed to me yet... The subject has not even been touched on.
         • Juxtaposition between traditionally spontaneous 'I adore you' and reserved formality that hinges on 'But'
         • Blending of public and private sphere for humour, point of romance is to be seen, and through this women get validation
           • 'What wonderfully blue eyes you have, Ernest!... I hope you will always look at me just like that, especially when there are other people present.'
       • 'The home seems to me to be the proper sphere for the man. and certainly once a man begins to neglect his domestic duties he becomes painfully effeminate... I don't like that. I makes men so very attractive.'
         • Wilde demonstrates women's ability to usurp traditional gender roles. Humour is created through the constant shifting between semantic fields- male and female associations,'neglect his domestic duties...painfully effeminate' and positive and negative, 'I don't like that... very attractive'. Disorientates listener and reduces gender roles to absurdities
       • 'But although she may prevent us becoming man and wife, and I may marry someone else,and marry often, nothing that she can...'
         • 'marry often' in sub-claus, gives effect of an aside, joke based on reversal of gender role, men normally able to divorce and remarry several time without same judgment as if women did. But also satirising popular issues, 1870 'Married women's property act' improved property rights for divorced women
   • Social hierarchy/ étiquette
     • Because Gwendolen raised in the city uses this social hierarchy over Gwendolen to imply her greater sophistication.
       • Gwendolen: '(Satirically) I am glad to say that I have never seen a spade. It is obvious that our social sphere have been widely different'
         • 'Spheres' link to worlds demonstrating the strength of divides G sees within social circles,reflective of LB's views of Jack's background
         • Remains bound by semantic fields of moralism (duty, pleasure) even when about to speak her mind to Cecily, 'On an occasion of this kind it becomes more than a duty to speak one's mind, It becomes a pleasure.' p48
     • Sees love in terms of etiquette,, G 'And to spare you any possible disappointment, Mr Worthing, I think it only fair to tell you quite frankly before hand that I am fully determined to accept you.' J: 'Gwendolen!' G:'Yes, Mr Worthing, what do you have to say to me?'
       • Formality of name, applying social principal to act of engagement creates humour at the stifling aspect of Victorian morality.
   • Women
     • G: 'The ydon't seem to notice us at all...' G: 'They're looking at us. What effrontery!'
       • In society where women traditionally have little power commanding a mans gaze empowers them, contradiction with having to project feelings of moral outrage. such close juxtaposition of attitudes presents the divide as humorous and demonstrates the egocentric desire under the 'mask' of emotion.
   • Fact and fiction
     • Ideal of loving a man called Ernest, seems to blend the reality with her fantasies
       • 'The story of your romantic origin, as related to me by mamma with unpleasing comments, has naturally stirred the deeper fibres of my nature'
         • Sees as 'story' rather than reality, translates fantasy into moralistic terms about her 'deepest fibers'
     • Do not seem to be defined as separate, Gwenodlen's constant contradictions of herself provide Wilde with an instrument to provide humour and comment on inane Victorian attitudes.
       • Oxymoronic language, 'The simplicity of you character makes you exquisitely incomprehensible to me.'

3. How she fits key motifs

   • Town and country
     • Is main subject through which G and C exercise power dynamics, used by Wilde asa stimulant for witty repartee but also satirising how similar the girls are in tone and attitude.
       • G: 'Five counties" i don't think I should like that; I hate crowds.' C: '(Sweetly) I suppose that is why you live in town?
       • P49 'Personally I cannot understand how anyone manages to exist in the country, if anybody who is anybody does.'
         • Using status of place to belittle social inferior Cecily (anybody who is anybody), satirises perceived differences after mirrored examination of dairies, match in jabbing tone, and love for someone called Ernest characterises them as so simialr
   • Satire
     • Fashion
       • How someone does something is more importance than why
         • 'In matters of grave importance, style, not sincerity is the vital thing.'
           • Links to key questions about the questioning of play's title if sincerity (being Earnest) not important then what is the importance of being Ernest- appearing so through aesthetics and fashionable adoption of morals
       • Gwendolen sees choices regarding fashion as important statements about social standing
         • Seen in food, p49, Cecily able to take advantage of to insult Gweondolen
     • Seriousness
       • As character Gwendolen dramatised the extent to which the world of the play is void of serious matters
         • 'We live, as I hope you know, Mr Worthing, in an age of ideals. The fact is constantly mentioned in the more expensive magazines and has reached the provincial pulpits, I am told' Fact Gwendolen told through expensive magazines shows how removed these ideals are from her life. Victorian era was a time for ideals though, key politicians pushed social and economic reform in slums of London and ideals surrounding eduction becoming more prominent and wide-spread
           • Also later says 'Hw absurd to talk of the equality of the sexes...' Wilde satirises situation and society through linking absurdity to serious real-world issues
   • Diaries and letters
     • Motif that ties very closely to fact and fiction (always talk about this motif if you are writing on that theme)
     • Blurs factual and sensationalist literature, even in writing about earnest, essentially writing about a fictional character
       • 'I never travel without my dairy. One should aways have something sensational to read of the train.'
         • P47, Both G&C produce diaries as though they are definitive prove of events, '[Shows diary]' '[Examines diary through her lorgnette carefully]' '[Produces diary of her own]' Physical stage actions also highlight mirroring elements of character, allows Wilde to present absurdity as creation of society, not the individuals.

4. Interactions with other characters

   • Agernon
     • Few interactions despite being relations
       • Gwendolen takes similar view of him as her mother, he is immoral but must be accommodated for because he is family
         • 'Algy, you always adopt a strictly immoral attitude towards life. You are not quite old enough to do that.' p24
   • Cecily
     • Characterised so similar in order for Wilde to demonstrate flaws are flaws of society, not the individual
       • Like Jack and Algernon often complete mirroring of lines to exaggerates characters' similarities to comedic level
         • Gwendolen; 'And I pity any woman who is married to a man called John... The only really safe name is Ernest.' P16
           • Cecily: 'There is something in the that name that inspires absolute confidence. I pity any poor married woman whose husband isn't called Ernest.' p43
   • Jack
     • Dominating over him, clear that she will take on a LB power dynamic in relationship
       • J; 'Good heavens!... I had quite forgotten that point. Your decision on the subject of my name is irrevocable, I suppose?' G: 'I never change except in my affections.' p68
       • Can be seen in gender cliche reversals in proposals, Jack amazed exclamations, Gwendolen conduction event
         • G; 'The moment Algernon first mentioned to me that he had a friend called Ernest, I knew I was destined to love you.' J; 'You really love me, Gwendolen?'
           • Is clear though that jack and Gwendolen are ideally matches in many ways, both believe in appearances, upper-class snobbery, emphasis on at least seeming to be good (unlike Cecily and Algernon who don't really care) both have sense of humour and are willing to discuss the absurd but also realise they must maintain a proper image and level of responsibility.
   • Lady Bracknell
     • See similarities between her a her mother, opinionated and forceful
       • Believes Cecily must have mother figure to enforce morals on her, 'Your mother, no doubt, or some female relative of advanced years, resides here also?' p46
       • J: 'Gwendolen,will you marry me?' G: 'Of course I will darling. How long you have been about it! I am afraid you have had very little experience in how to propose.'
     • Despite similarities disobeys her several time, able to escape the most formidable character of the lay, however fact that she need to escape to fulfil desires demonstrates that women are not given the same freedom as men, who are able to create who new identities for themselves.
       • Goes to the country
       • LB: 'Gwendolen, you will accompany me.' G: 'Certainly, mamma.' '[Lady Bracknell and Algernon go into the music room, Gwendolen remains behind.]'