Gender Roles Revisited in Orlando

As we continue with the metamorphosis of Orlando, we see Woolf make a profound departure from the boundaries of her earlier work.  In contrast to To the Lighthouse, Orlando ignores the constraints of gender and time and instead they are explored freely and openly throughout the course of the novel.  I like to think of Orlando as being neither male nor female, because both of those designations require an acknowledgement that it is the opposite of the other.  To be male is to necessitates the recognition of the female as the Other, and this contrast better defines what the male is, and vice versa.  While Orlando does identify as male at the start of the plot, his transformation into a women marks his (her) transcendence of human sexuality, and (s)he is therefore able to take on both roles simultaneously. 

It is important to note that Orlando does not separate itself from sex entirely, but rather he/she sees explores both realms equally.  Perhaps this is Woolf’s take on the psychological aspect of gender identity, where one’s gender is not defined by biological means rather than their perception of the self and how society defines gender.  Interestingly enough, Orlando begins as a fortunate young male, and his attitude towards women is surprisingly hedonistic.  During this part of the novel Woolf introduces the male gaze, which is refreshing in a way as this is the first novel we have discussed in class where a male protagonist directly explores his sexual desires (I think of Jacob’s Room as being less from Jacob’s point of view than Orlando is from that of the title character).  Orlando’s social status certainly aids his sexual encounters, although ironically he is at first reprimanded by Queen Elizabeth for kissing a girl in his youth.  This is the only time where we see a woman of higher authority than Orlando, and her unreceptive view of sex foreshadows those that we see again in the Victorian era. 

We experience a gap of about 200 years between Orlando’s time as a young nobleman and the beginning of his life as a woman, during which Orlando is in Constantinople.  After one particular sexual encounter, Orlando is put in a stupor that ultimately yields his transformation into a woman.  With this part of the novel, Woolf again begins to explore sexuality but this time from a woman’s point of view.  In contrast to the relatively overt sexuality of the male version of Orlando, our female Orlando quickly discovers the differences in female sexuality.  She lives in a time of repressed sexuality, which is symbolized by her encounter with the sailor where even the exposure of her ankle is almost enough to kill him.  While noble Orlando was given free reign during his association with King James, Orlando’s social status does little to affect her sexuality as a woman.  Orlando is expected to conform to social standards set for women, and she is confronted with an interesting paradox between men and woman:  Men, who are the pursuers of sex, determine what is socially acceptable and permissible among women, who Woolf portrays as the more sexual of the two genders but must abide by the standards set by men.  It is interesting that we are allowed to see such flexibility through the same character’s eyes, which offers the reader to explore sexuality through a single point of view and become a part of the same transformation that Orlando endures.

Time, Gender, and To the Lighthouse

One of the most provocative themes in To the Lighthouse is the issue of gender roles. Lily and Mrs. Ramsay are the two main female characters, who Woolf often contrasts with their predominately male company. In "The Window", Mr. Ramsay and Charles Tansley are the primary male figures that counterbalance the two women. Mrs. Ramsay acts as the traditional domesticated wife, who lives to serve her husband and children. More important is the fact that she is aware of her role, but she chooses to lead her life in this traditional manner. Lily on the other hand is more outspoken that Mrs. Ramsay, and she refuses to allow her will to be overcome by male expectations. She is defiant when Charles insists that women do not make for good artists, and much like Mrs. Ramsay, she shows a degree of awareness of her own identity as a woman.
In contrast, Mr. Ramsay and Charles do not seem to so aware of their own roles as men. In fact, their whole existence can be seen as the opposite of that of the women. Mr. Ramsay is completely self-centered and dependent on his wife, who knows that he is in need of constant reassurance and support despite his irritability. Mrs. Ramsay even goes so far as to blame herself for his condition, something that Lily despises. Working as his understudy, Charles is exactly that- a Mr. Ramsay in the making, which Lily is keen to prevent. While Lily generally avoids involving herself in Mr. and Mrs. Ramsay’s marital affairs, Lily has no trouble defending herself in front of Charles. Unlike Mr. Ramsay, Lily knew that Charles had not yet reached the point where he required constant reassurance and flattery; on the contrary, he was ambitious to be challenged.
What is most interesting to me throughout the course of To the Lighthouse is how these gender roles remain constant yet reveal themselves through different characters. In "The Lighthouse," much time has passed since "The Window," and Mrs. Ramsay has passed away. Her role as wife and mother is partially fulfilled by Lily, who assumes the responsibility of being Mr. Ramsay’s primary source of comfort. Perhaps she is compliant to his demands so that she may remain at the house and work on her art in peace, but one gets the sense that she is consciously aware of Mrs. Ramsay’s absence and feels the need to fill the void that she left. Cam balances this notion as she represents the young female point of view, much like Lily did years earlier. Cam is also teased by her father on the boat trip to the lighthouse, and she begins to endure the psychological effect seen earlier in Lily. While it may be assumed that Cam’s relationship with her father and brother long preceded the moments Woolf captures on the page, it is interesting that we see almost the exact situation again, years later in a new generation.
I have by no means exhausted the theme of gender roles in To the Lighthouse, and there are other characters, such as James and Macalister, who need to be explored in order to make more profound conclusions regarding the issue of gender within the novel. However, my scrutiny of this issue has opened my eyes to what I believe is an even greater force in To the Lighthouse, which is time. It is extraordinary how Woolf seamlessly transforms characters over time, and after "The Lighthouse" it is remarkable to go back and look at the first segment of the book and see how each character is reincarnated in the younger generation.