The Victorian House: Domestic Life from Childbirth to Deathbed. Judith Flanders

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СКАЧАТЬ Family Paper and Family Mirror.³ They were not alone in their focus. Services were provided by ‘Family Drapers’, ‘Family Butchers’, even a ‘Family Mourning Warehouse’.⁴ As the Industrial Revolution appeared to have taken over every aspect of working life, so the family, and by extension the house, expanded in tandem to act as an emotional counterweight. The Victorians found it useful to separate their world into a public sphere, of work and trade, and a private sphere, of home life and domesticity. The Victorian house became defined as a refuge, a place apart from the sordid aspects of commercial life, with different morals, different rules, different guidelines to protect the soul from being consumed by commerce. Or so it seemed.

      Domesticity began to acquire a new importance in the late eighteenth century, and in half a century it had made such strides that the house as shelter from outside forces was regarded as the norm. The eighteenth century had been the age of the club and the coffee house for those who could afford them, the gin shop and street gatherings for those who could not. Male companionship in leisure time was the norm for men. Now women at home were looked at in a different light: they became, as John Ruskin was later to describe the home, the focus of existence, the source of refuge and retreat, but also of strength and renewal.

      It was not one thing alone that created this powerful urge to domesticity, but a combination: the rise of the Evangelical movement and, almost simultaneously, of Methodism and other dissenting sects; improvements in mortality figures; and the creation of the factory as a place of employment. It is for these reasons that I have chosen to focus primarily on the period 1850 to 1890 – from the rise of the High Victorian era to the end of the recession that marked the 1870s and 1880s and led to the long Edwardian summer. These forty years were a dynamic era of much change. Yet it seems that this very dynamism led people to try to create a still centre in their homes, where things changed as little as possible. In many areas this period can be discussed as a unity, because that is how its participants hoped to see it: as a stable period, although the reality of rapid technological change could make this desire for stasis seem almost ludicrous. These conflicting desires are, I hope, represented with equal weight here.

      One of the first forces of change came with the wave of Evangelical fervour that swept the country in the early part of the century. Evangelicals hoped to find a Christian path in all their actions, including the details of daily life: a true Christian must ensure that the family operated in a milieu that could promote good relations between family members and between the family members and their servants, and between the family and the outside world. The home was a microcosm of the ideal society, with love and charity replacing the commerce and capitalism of the outside world. This dichotomy allowed men to pursue business in a suitably capitalist – perhaps even ruthless – fashion, because they knew they could refresh the inner man by returning at the end of the day to an atmosphere of harmony, from which competition was banished. This idea was so useful that it was internalized by many who shared no religious beliefs with the Evangelicals, and it rapidly became a secular norm.⁵

      At the same time advances in technology were changing more traditional aspects of home life. With improved sanitation and hygiene, child mortality was falling. The middle classes had more disposable income, and thus anxiety about the fundamentals of life – enough food, affordable light and heat – diminished. With the increase in child survival rates came coincidentally the gradual phasing out of the apprenticeship system for middle-class professions such as medicine and the law, which meant that for the first time many parents could watch their children reach adulthood in their own homes. The Romantic movement’s creation of the cult of innocence promoted an idealized view of childhood, and produced what has sometimes been referred to as ‘the cult of the child’: the child-centred home was developing.

      That work was moving outside the home was the third essential factor in the creation of nineteenth-century domesticity. Previously, many of the working classes had found occupation in piecework, which was produced at home. With the coming of the factories, work moved to a place of regimentation and timekeeping. The middle classes too had been used to work at home: at the lower end of the scale, shopkeepers lived above their shops; slightly higher up, wholesalers lived above their warehouses. Doctors and lawyers had consulting rooms at home, as did many other professionals. Women who had helped their husbands with their work – serving in the shop, doing the accounts, keeping track of correspondence or clients – were now physically separated from their husbands’ labour and became solely housekeepers. Slowly the cities became segregated: those who could afford it no longer lived near their work. An early example was the suburb of Edgbaston, on the edge of Birmingham, planned in the early part of the century by Lord Calthorpe to provide ‘genteel homes for the middle classes’, and proudly known as the ‘Belgravia of Birmingham’. Its homes were for the families who owned and ran the industries on which the town thrived – but who did not want to live near them. The leases for houses in Edgbaston were clear: no retail premises were permitted, nor was professional work to be undertaken in these houses. Edgbaston was the first residential area that assumed that people wanted to live and work in different locations.⁶ Over the century this same transformation occurred across the country. In London the City became a place of work, the West End a place of residence; gradually, as the West End acquired a work character too, the suburbs became the residential areas of choice.

      Charles Dickens, the great chronicler of domestic life in all its shades, was well aware of the perils of promiscuous mixing of home and work. In Dombey and Son (1848) Mr Dombey, the head of a great shipping company, is unable to leave his business behind him when he returns home. His only thoughts are of ‘Dombey and Son’ and, by allowing his work life to contaminate his family life, he destroys the latter – and, by extension, the former. In Great Expectations (1860–61) the law clerk Wemmick bases his life entirely on the separation of work and home: ‘the office is one thing, and private life is another. When I go into the office, I leave the Castle [his house in the suburbs] behind me, and when I come into the Castle, I leave the office behind me … I don’t wish it professionally spoken about.’⁷ That the fictional Mark Rutherford, nearing the end of the century, thought no differently confirmed that this attitude was not simply a jeu d’esprit of Dickens. William Hale White (1831–1913) wrote a series of supposedly autobiographical books under the name Mark Rutherford. White was a dissenter who had trained for the ministry before he lost his faith; he then became a civil servant at the Admiralty. His alter ego, Rutherford, was also a minister who lost his faith. About his private life Rutherford wrote that at the office ‘Nobody knew anything about me, whether I was married or single, where I lived, or what I thought upon a single subject of any importance. I cut off my office life in this way from my home life so completely that I was two selves, and my true self was not stained by contact with my other self. It was a comfort to me to think the moment the clock struck seven that my second self died.’⁸

      That ‘true self’ was the real man, on view only at home. Ruskin’s father wrote, ‘Oh! how dull and dreary is the best society I fall into compared with the circle of my own Fire Side with my Love sitting opposite irradiating all around her, and my most extraordinary boy.’⁹ With this the good Victorian was supposed to – and often did – rest content For, as the clerk Charles Pooter put it so eloquently in The Diary of a Nobody (1892), George and Weedon Grossmith’s comic masterpiece of genteel English anxiety. ‘After my work in the City, I like to be at home. What’s the good of a home, if you are never in it?’¹⁰ Mr Pooter’s ideal of the good life, recounted in diary form, centred on his dream house in the suburbs.

      In continental Europe the opposite was happening. The Goncourt brothers wrote in their diary in 1860, ‘One can see women, children, husbands and wives, СКАЧАТЬ