Austen & the Female Gaze: Success or Defeat?

The presence of the male gaze is/has been dominant in society, and is therefore reflected in much literature. Sometimes the presence of the gaze is overwhelming, and other times it is so subtle in a text that it is not until the written words are presented on stage or through film that the dominance of the gaze is revealed. Laura Mulvey, in her article, “Visual Pleasure and Narrative Cinema,” describes the many components of the male gaze found in film. However, she fails to note the implied existence of these elements within a written text.

Cinema is a simple means by which the gaze can be introduced because as viewers, we are also participating in the scopophilic behavior. Therefore, there are at least two levels of scopophilia present in narrative cinema: the pleasure in looking among the characters within the film and the audience’s pleasure in watching the film. Nevertheless, the first signs of the gaze’s existence are found within a text.

Jane Austen is a popular author who is frequently seen as promoting the existence of a female gaze. While many literary theorists may disagree with the possibility that a female gaze does exist, this argument is often support

Catherine, ignoring Thorpe’s attempt to impress her, is genuinely concerned for her brother. Yet, when Catherine suggests that they turn back for fear that James’ carriage will break down, Thorpe replies, “Unsafe! Oh, lord! What is there in that? They will only get a roll if it does break down […] The carriage is safe enough” (69). It is astonishing that John finds the need to lie to increase his importance in Catherine’s eyes. The principles of the male gaze suggests that only a woman would need to exaggerate things, just a little, to impress men. Interestingly, we see the opposite is true in this instance.

For instance, it seems as though not a scene goes by when John is not boasting about his horse and carriage. John is constantly showing off his horse, exaggerating about the distance his horse can travel without rest, and refusing to drive his sisters around town. In reply to Isabella’s subtle expression of desire to join John and Catherine in their engagement tomorrow, John exclaims, “No, no; I did not come to Bath to drive my sisters about; that would be a good joke” (NA 53). Catherine, who is initially impressed by all his claims, only feeds his ego and provokes further bragging.

For example, Collins uses his right to choose a wife in attempt to better his position. During Collins’ proposal to Elizabeth, he responds to her hesitancy with a compliment in attempt to coax her, “Believe me, my dear Miss Elizabeth, that your modesty, so far from doing you any disservice, rather adds to your other perfections. You would have been less amiable in my eyes had there not been this little unwillingness” (PNP 90). Rather than flattering Elizabeth, this further offends her. How dare Collins assert that Elizabeth is being modest! Collins mistakes Elizabeth’s honesty for flirtation. He is too proud to even entertain the possibility that perhaps Elizabeth simply does not want him.

For instance, John Thorpe comes seeking to take Catherine out for another ride in his carriage. However, Catherine has already made plans to go on a walk with Mr. and Miss Tilney. Needing an excuse to say no to the ever-persuasive John Thorpe, Catherine looks to Mrs. Allen as a child looks to her parents seeking a reason to refuse. Much to Catherine’s despair, Mrs. Allen’s only reply is that Catherine should do whatever pleases her.

Some topics in this essay:
Northanger Abbey, Catherine Isabella, Miss Bennet, John Thorpe, Pride Prejudice, Thorpe Allen, Elizabeth Bennet, Miss Bingley, Tilney Henry, Unfortunately Isabella, male gaze, northanger abbey, pride prejudice, female gaze, miss tilney, john thorpe, miss bingley, na 48, elizabeth bennet, catherine initially, women pride prejudice, pride prejudice northanger, male female characters, female gaze exist, powerful austen’s novels,