Gallia is an 1895 novel written by Ménie Muriel Dowie. It is usually categorised as a New Woman novel.[1][2][3]

Plot introduction

Set mainly in 1890s London and rural Surrey, Gallia is about a conventional aristocratic family with an unconventional daughter, who is the eponymous heroine of the story. However, Gallia does not openly rebel against society by, say, demanding equal rights for women or by deliberately breaking social rules. Rather, she leads a quiet, inconspicuous life, outwardly conforming to all the norms she is expected to observe. Her unconventionality is expressed in her unusual thoughts and ideas, in particular on human reproduction, which are given broad scope by the narrator. Thus, Gallia can be read as a philosophical novel.

Plot summary

Source:[4]

Ever since their only child Gallia decided to get a university education about five years ago, Lord and Lady Hamesthwaite have been carefully watching their daughter's silent alienation from their world and have had their doubts if she will ever consent to marry one of the eligible young men that present themselves to the family. Gallia is attractive, healthy and clever but all the men around her agree that she never behaves in an easy-going, coquettish manner. Family and friends are occasionally shocked by the topics she chooses for polite conversation, such as politics or sex.

Since her Oxford days, Gallia has known Hubert Essex, who has embarked on an academic career and does research on Darwinian theory. It is Essex with whom Gallia genuinely falls in love. Her honesty compels her to confess her love for him, and she is devastated when she is rejected by Essex. When he tells her bluntly that his "life has no need of" her,[5] Gallia knows that she will never be able to experience romantic love again. What Essex omits from his speech is the fact that he is suffering from a hereditary heart condition and that he is very likely to die young.

When Gallia is introduced to Mark Gurdon, an ambitious social climber who wants to get ahead within the British Civil Service, and when she realizes that he is handsome, healthy, and virile, she chooses him to be the father of her future child, or children. Gurdon, whose guiding principle in life is decency, is keeping a mistress in a studio flat in London who resorts to a self-induced abortion to terminate a pregnancy just at the time when Gurdon starts being attracted by Gallia. But Gallia does not mind: when he proposes to her, she accepts but makes it clear right from the start that she will never be able to love him.

Eugenicist thought in Gallia

Source:[6]

Gallia Hamesthwaite expounds her ideas on human reproduction, on "making better people" (i.e. eugenics), while having tea with her friend Margaret Essex—Hubert's sister—and a fashionable young woman called Gertrude Janion.[7] Although she believes that her suggestion for social reform is utopian ("We shan't live to see the real advance"), she has worked it out in quite some detail:

"[...] How can we wonder that only one person in ten is handsome and well made, when you reflect that they were most likely haps of hazard, that they were unintended, the offspring of people quite unfitted to have children at all? There are people fitted, for instance, to be mothers, which every woman isn't; there are women fitted to bring up children, who may not be mothers. Think of this: a man may love a woman and marry her; they may be devoted to each other, and long for a child to bring up and to love; but the woman may be too delicate to run the risk. What are they to do? What would be the reasonable thing to do? Sacrifice the poor woman for the sake of a weakly baby? No, of course not, but get in a mother!"[8]

Gallia sees such a development (surrogacy) as "only a step farther" from employing a wet nurse, which was common practice among the rich in the late Victorian era. (In George Moore's novel Esther Waters (1894), the eponymous heroine works as a wet nurse after the birth of her son while leaving him in the hands of a baby farmer.) Strangely, Gallia, called "a shrewd and hopeful saint" by the narrator,[9] does not offer a more comprehensive social reform proposal. For example, she is not concerned with the plight of the lower classes; she does not even talk to her own domestic workers. ("Very seldom indeed had she occasion to address any of her servants, with the exception of her own footman and her maid. She was held in the awe with which all servants regard a mistress who is habitually unconscious of their existence."[10]) Also, the female suffrage movement is not mentioned.

Editions

References

  1. ↑ Youngkin, Molly (2007). Feminist Realism at the Fin de Siècle. Ohio State University Press. p. 133. ISBN 978-0-8142-1048-2. Retrieved 6 September 2008.
  2. ↑ Pykett, Lyn (1992). The "improper" Feminine. Routledge. p. 148. ISBN 978-0-415-04928-3. Retrieved 6 September 2008.
  3. ↑ Cunningham, Gail: " 'He-Notes': Reconstructing Masculinity", The New Woman in Fiction and Fact, ed. Angelique Richardson and Chris Willis (Palgrave: Basingstoke and New York, 2001) 94-106.
  4. ↑ A chapter-by-chapter "Text Summary" is included in the 1995 edition, pp.215-222.
  5. ↑ Gallia (1995 ed.), p.48.
  6. ↑ For a more thorough discussion of this point, cf. Sally Ledger: "The New Woman and Feminist Fictions", The Cambridge Companion to the Fin de Siècle, ed. Gail Marshall (CUP: Cambridge, 2007) 153ff. and L. Timmel Duchamp: "That Only a Feminist: Reflections on Women, Feminism and Science Fiction, 1818-1960" Archived 2009-07-30 at the Wayback Machine, Foundation: The International Review of Science Fiction (Vol.31, No.84, Spring, 2002).
  7. ↑ Gallia, pp.112-116.
  8. ↑ Gallia, p.113.
  9. ↑ Gallia, p.114.
  10. ↑ Gallia, p.143.
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