‘How differently it came upon her’: The Ageing Young Stepmother in Charlotte Yonge’s The Young Step-Mother and Dinah Craik’s Christian’s Mistake

This article looks at two domestic novels of the 1860s, The Young Step-Mother by Charlotte Yonge and Christian’s Mistake by Dinah Craik, alongside Victorian vital statistics and family structure in order to argue that fictional stepmothers of the period — even very young stepmothers — are better und...
Ausführliche Beschreibung

Gespeichert in:

Autor*in:	Hannah Rosefield [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch

Erschienen:	2021

Schlagwörter:	marriage plot bildungsroman Dinah Craik Charlotte Yonge vital statistics family

Übergeordnetes Werk:	In: 19 - Open Library of Humanities, 2010, (2021), 32
Übergeordnetes Werk:	year:2021 ; number:32

Links:	Link aufrufen Link aufrufen Link aufrufen Link aufrufen Journal toc

DOI / URN:	10.16995/ntn.3480

Katalog-ID:	DOAJ043514243

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author	Hannah Rosefield
spellingShingle	Hannah Rosefield misc D204-475 misc marriage plot misc bildungsroman misc Dinah Craik misc Charlotte Yonge misc vital statistics misc family misc Modern history, 1453- ‘How differently it came upon her’: The Ageing Young Stepmother in Charlotte Yonge’s The Young Step-Mother and Dinah Craik’s Christian’s Mistake
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topic_title	D204-475 ‘How differently it came upon her’: The Ageing Young Stepmother in Charlotte Yonge’s The Young Step-Mother and Dinah Craik’s Christian’s Mistake marriage plot bildungsroman Dinah Craik Charlotte Yonge vital statistics family
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title	‘How differently it came upon her’: The Ageing Young Stepmother in Charlotte Yonge’s The Young Step-Mother and Dinah Craik’s Christian’s Mistake
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title_sort	‘how differently it came upon her’: the ageing young stepmother in charlotte yonge’s the young step-mother and dinah craik’s christian’s mistake
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title_auth	‘How differently it came upon her’: The Ageing Young Stepmother in Charlotte Yonge’s The Young Step-Mother and Dinah Craik’s Christian’s Mistake
abstract	This article looks at two domestic novels of the 1860s, The Young Step-Mother by Charlotte Yonge and Christian’s Mistake by Dinah Craik, alongside Victorian vital statistics and family structure in order to argue that fictional stepmothers of the period — even very young stepmothers — are better understood as a portrayal of female middle age. One of the strongest conventions of the nineteenth-century novel is that its protagonist be young, especially if that protagonist is female. This youth convention prevented novelists from putting many aspects of women’s lives at the centre of their work; one such aspect was mothering a child past the age of infancy. When critics write about the stepmother in Victorian literature, they usually portray her either as a stereotype (the wicked stepmother of fairy tale) or as a representation of a common nineteenth-century reality. This article shows that a young stepmother-protagonist offered Victorian writers a way to respect the novel’s youth convention at the same time as exploring emotions and experiences not typically available to biological mothers until their thirties, forties or even fifties: dealing with the competing demands of infant and adolescent children, for example, or with a daughter’s unhappy marriage or son’s professional difficulties. Through showing how Yonge’s and Craik’s novels give mature experience to young women, this article offers a model for finding Victorian representations of age in unexpected places and unexpected bodies.
abstractGer	This article looks at two domestic novels of the 1860s, The Young Step-Mother by Charlotte Yonge and Christian’s Mistake by Dinah Craik, alongside Victorian vital statistics and family structure in order to argue that fictional stepmothers of the period — even very young stepmothers — are better understood as a portrayal of female middle age. One of the strongest conventions of the nineteenth-century novel is that its protagonist be young, especially if that protagonist is female. This youth convention prevented novelists from putting many aspects of women’s lives at the centre of their work; one such aspect was mothering a child past the age of infancy. When critics write about the stepmother in Victorian literature, they usually portray her either as a stereotype (the wicked stepmother of fairy tale) or as a representation of a common nineteenth-century reality. This article shows that a young stepmother-protagonist offered Victorian writers a way to respect the novel’s youth convention at the same time as exploring emotions and experiences not typically available to biological mothers until their thirties, forties or even fifties: dealing with the competing demands of infant and adolescent children, for example, or with a daughter’s unhappy marriage or son’s professional difficulties. Through showing how Yonge’s and Craik’s novels give mature experience to young women, this article offers a model for finding Victorian representations of age in unexpected places and unexpected bodies.
abstract_unstemmed	This article looks at two domestic novels of the 1860s, The Young Step-Mother by Charlotte Yonge and Christian’s Mistake by Dinah Craik, alongside Victorian vital statistics and family structure in order to argue that fictional stepmothers of the period — even very young stepmothers — are better understood as a portrayal of female middle age. One of the strongest conventions of the nineteenth-century novel is that its protagonist be young, especially if that protagonist is female. This youth convention prevented novelists from putting many aspects of women’s lives at the centre of their work; one such aspect was mothering a child past the age of infancy. When critics write about the stepmother in Victorian literature, they usually portray her either as a stereotype (the wicked stepmother of fairy tale) or as a representation of a common nineteenth-century reality. This article shows that a young stepmother-protagonist offered Victorian writers a way to respect the novel’s youth convention at the same time as exploring emotions and experiences not typically available to biological mothers until their thirties, forties or even fifties: dealing with the competing demands of infant and adolescent children, for example, or with a daughter’s unhappy marriage or son’s professional difficulties. Through showing how Yonge’s and Craik’s novels give mature experience to young women, this article offers a model for finding Victorian representations of age in unexpected places and unexpected bodies.
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title_short	‘How differently it came upon her’: The Ageing Young Stepmother in Charlotte Yonge’s The Young Step-Mother and Dinah Craik’s Christian’s Mistake
url	https://doi.org/10.16995/ntn.3480 https://doaj.org/article/8fe573ec015f4d659b54dece7f7e6701 http://19.bbk.ac.uk/article/id/3480/ http://19.bbk.ac.uk/article/3480/galley/8087/download/ https://doaj.org/toc/1755-1560
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One of the strongest conventions of the nineteenth-century novel is that its protagonist be young, especially if that protagonist is female. This youth convention prevented novelists from putting many aspects of women’s lives at the centre of their work; one such aspect was mothering a child past the age of infancy. When critics write about the stepmother in Victorian literature, they usually portray her either as a stereotype (the wicked stepmother of fairy tale) or as a representation of a common nineteenth-century reality. This article shows that a young stepmother-protagonist offered Victorian writers a way to respect the novel’s youth convention at the same time as exploring emotions and experiences not typically available to biological mothers until their thirties, forties or even fifties: dealing with the competing demands of infant and adolescent children, for example, or with a daughter’s unhappy marriage or son’s professional difficulties. 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‘How differently it came upon her’: The Ageing Young Stepmother in Charlotte Yonge’s The Young Step-Mother and Dinah Craik’s Christian’s Mistake

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