By Elizabeth Wilson
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Extra info for The Sphinx in the City: Urban Life, the Control of Disorder, and Women
Sample text
Burke even argues that where beauty 'is highest in the female sex', it 'almost always carries with it an idea of weakness and imperfection'. Because women are aware of this, he asserts, 'they learn to lisp, to totter in their walk, to counterfeit weakness, and even sickness'. Yet he then says that this is natural: 'in all this they are guided by nature'! For Burke beauty consists in smallness, smoothness and gradual variation, in 'the deceitful image, through which the unsteady eye slides giddily, without knowing where to fix or whither it is carried'.
The smoke that hangs over them - their noisy bustling and dirty streets - the large proportion of the working classes seen there, many of whom have their persons and clothes blackened with their occupations - the hum and buzz of machinery in the factories - the flaming of furnaces - the rude earnestness of the 'unwashed artificers' - and their provincial dialect are little calculated to gratify 'ears polite' or to please the eye. 7 But he flung back the accusation of immorality, citing the reports of the Poor Law Commissioners on rural areas - including reports of Dorset, where Lord Shaftesbury's estate lay.
For a Victorian to pitch him- or herself (it was nearly always himself) into the warrens around King's Cross, Seven Dials or Saffron Hill was, figuratively, to die, to undergo a rite of passage that would destroy something integral to the Victorian identity: the optimism, the belief in the efficacy of providence, and in the ability of the individual to triumph over circumstances. 3 Much Victorian journalism was a literature of voyeurism, revealing to its middle-class audience a hidden life of the city which offered not so much grist for reform as vicarious, even illicit enjoyment of the forbidden 'Other' that was so close to, yet so far from, the Victorian bourgeoisie.