The Portrayal of Feminity and "The New Woman" in Arthur Conan Doyle's Sherlock Holmes
An analysis of the portrayal of women in Sherlock Holmes
Portrayal of Feminity the "Solitary Cyclist" Illustations
Fiesty
Femininity and Bloomers
Bicycle Bloomers made their first appearance in the 1850s. Later in the 1890s, the bicycle became symbolic for the women's movement. "Cycling allowed women freedom of physical movement, demanded a new clothing style, and was directly associated with women’s struggle for suffrage” (Kisti-Mitakou 9). Cycling represented a type of freedom for women, they were granted with the ability to go places on their own and control their own physical movement. By 1888, the bike was standard transportation for women and the image of the “New Woman” became one of an athlete. “The image of the New Woman became firmly associated with the safety bicycle, which was introduced by Kemp Stanley in 1884 and improved with the addition of John Dunlop’s pneumatic tyres in 1887” (29). In 1849, bicycle bloomers were invented in order to provide women with a safer, more appropriate style of clothing for the bicycle.
However, certain precautions were taken so the appearance of these bloomers would remain to that of a skirt. In the above picture to the left, the differences between a woman’s bloomers and a man’s are shown. A man’s pants are long and straight, whereas a woman’s a large and poufy in appearance, like that of a skirt. With the rise of the movement in the 1890s, bloomers too became an image of sexual pleasure for those against the women’s right movement. “There was indeed great concern in the 1890s (and beyond) that bicycle riding might be sexually stimulating for women: bestriding a saddle combined with the motion required to propel a bicycle was thought to lead to dangerous simulation” (Kisti-Mitakou 38). In Arthur Conan Doyle’s “Solitary Cyclist,” there is a moment when Sherlock Holmes observes Violet Smith’s athletic appearance, marking her as a cyclist. “‘At least it cannot be your health,’ said he, as his keen eyes darted over her; ‘so ardent a bicyclist must be full of energy.’ She glanced down in surprise at her own feet, and I observed the slight roughening of the side of the sole caused by the friction of the edge of the pedal” (Doyle). This passage emphasizes the opposers thoughts of cycling and the supposed sexual pleasure derived from the activity. This too is repeated when Carruthers takes it upon himself to protect Violet, instead of hiring her a carriage to protect her. “Violet’s little trips to the station exhilarate Carruthers, who prefers to follow her on his bicycle rather than hire a coach to protect her” (Kisti-Mitakou 40). Though Doyle includes the image of the “New Woman,” Violet, on her bicycle, he placed the image in a conservative approach.
"Cycling allowed women freedom of physical movement, demanded a new clothing style, and was directly associated with women’s struggle for suffrage.” (Kitsi-Mitakou 29)
The Feisty vs. The Feminine
Sydney Paget illustrated the images of “The Solitary Cyclist” and other Doyle works published in the Strand. Paget’s illustrations of Violet in “Solitary Cyclist” are of interest. Doyle specifically requested Violet to be drawn the way she is. In other images on this site, women are shown proudly wearing their bloomers next to their bicycles. However, Violet is drawn in a long dress. In the above left picture, she sits in a refined position. In the above right and lower right picture, it is difficult to see the division of the bloomers. The picture to the right is known as "A lady wearing her 'proper attire' astride her bicycle," indicating that she is wearing a dress. In Paget’s illustrations, it appears that Violet too is wearing a dress, which would make cyclist riding difficult. Violet's dress and the woman's dress to the right are very similar. These illustrations show Violet in a feminine way. As Katerina Kisti-Mitakou states in Gender Trouble in Conan Doyle’s “The Adventure of the Solitary Cyclist,” “The image of this feisty cyclist bears little resemblance to that of the refined, fragile almost, lady in the picture” (36). Through the illustrations, Doyle is again approaching the image of the “New Woman” conservatively. In the late 19th century, the term “New Woman” was used as an early term for the modern feminist. These women were characterized by defying the strict rules placed on them. These women educated themselves, sought jobs, and even started wearing what was then deemed as “men’s clothing,” as a less restrictive, more comfortable option (Buzwell). Though Doyle placed Violet Smith as a “New Woman,” he described and illustrated Violet in a conservative fashion. Though Violet represented the idea of a “New Woman,” she is pictured in a long dress, in refined positions in the presence of Sherlock Holmes and John Watson. Despite the characterization of a “New Woman,” he used his idea of what an ideal woman should look like, wear, and behave.