by Stacy Oberembt

University of Nebraska at Kearney

In social terms, the nineteenth century can be defined as a time characteristic of working husbands coming home to perfect housewives, loving children, and dinner cooking on the stove. This displays the habitual lifestyle that almost all families of this time modeled because it was the mold that society created. It was understood that "true womanhood was the centerpiece of nineteenth-century female identity" (Roberts 150). Women were expected to follow the four main virtues of "piety, purity, submissiveness, and domesticity" (Welter 21). By adhering to these advantageous values, women were expected to find unlimited happiness and security in their marriages. Conforming to these societal expectations, women and men alike learned to cling to their roles.

The push for this cult of "True Womanhood" was often portrayed humorously in late nineteenth century literature. In Kate Cleary’s "An Ornament to Society," society’s definition of true womanhood is mocked through the story’s satirical presentation. Following the death of his wife, Jack Harrowsby is determined to fulfill her wish that their only daughter, Cleo, become an ornament to society; however, Jack’s clouded image of what an ornament actually is causes him confusion and misguidance, due to society’s interferences. He is influenced by his deceased wife, the men and women of the town, and his new wife.

Initially, Jack Harrowsby is somewhat ignorant of the role that women play in his life. He fails to notice a "sympathizing woman" that supplies him a chair in the story’s opening scene and thinks nothing of the "subdued but incessant chatter of women’s voices" coming from the kitchen (Cleary 123). He rarely questions the nature of these actions because he has become so accustomed to them through his wife’s methodic performance of domestic tasks. If his wife does seem to stray from her duties or appear to be acting unlike her usual self, he immediately recalls her strong devoutness, one of the four virtues of true womanhood. Since she is a "full-blooded" church member and continues to complete her work during their numerous moves, he has little reason to doubt the validity of her womanhood (Cleary 124).

The superiority of Mrs. Harrowsby’s womanhood is once again reinforced to Jack by the town’s showing at her funeral. Jack believes that many attended to honor his wife, who is "the model of all the hard worked farmers’ wives around" (Cleary 129). She has acquired this title through her "unceasing labor, her rigid religious views. . .her conservatism, [and] her inflexibility," all of which have named her "a social power to be admired and a leader to be reverenced" (Cleary 129). Jack has truly convinced himself of his wife’s perfection as a woman because she has met society’s expectations and gained the needed respect of the community.

After Mrs. Harrowsby’s death, Jack begins reminiscing about his wife’s unfulfilled desires. Originally, he feels a morsel of guilt that she was unable to reach her aspirations, but these feelings are immediately replaced by reassuring words from the men in town. They justify his superior behavior to her, which include actions that in truth caused more work than enjoyment for her. Their idea of ideal treatment includes allowing her to cook for numerous guests and traveling with cattle by train. These examples merely emphasize her submissive behavior that was marked as a desirable asset by society. Jack was led to believe that his wife was content in her domestic role, willingly complying with his desires that he had falsely tagged as her own.

The men in town not only reassure Jack of his fair treatment to his wife, but they also form a convincing opinion of what defines an ornament to society. Jack is intent on finding out this definition by claiming, "I got to figure it out some way" (Cleary 128). He is desperately seeking a meaningful explanation, so that he can mold his daughter into this figure. Jack is confident in the men’s ideas, which mock society’s definition of true womanhood. Some of the townsmen characterize a true woman as one "who could take a hand at playing the organ in church. . .take an interest in reading polite literature. . .an’ always have her hair frizzed" (Cleary 128). Jack immediately clings to these suggestions, failing to recognize that these characteristics only emphasize an outward display of true womanhood, neglecting the importance of inner qualities.

Along with the men in town, the women of Jack’s community support the men’s ideals of womanhood. Jack’s niece shares her opinion that women should engage in "fancy work" but avoid tasks that may be hazardous to the whiteness and beauty of their hands (Cleary 130). The idea of a woman evading the task of washing dishes worries Jack as he finds this to be a typical domestic chore performed by all women. Even though he is convinced that women are obligated to master these common household duties, he complies with his niece and starts Cleo in the education of a woman’s fancywork.

Even though Cleo has failed to find perfection in her work, Jack still marvels at her "labors in the field of art," as he brags to his local community members (Cleary 130). Cleo’s flaws go unnoticed by Jack as he concentrates solely on his daughter becoming a true ornament, failing to recognize her hidden wishes of freedom from conformity. When Cleo begins missing her lessons and, instead, begins exploring nature, Jack immediately suppresses her desires and forces her into the conventionality of the convent. He is once again convinced by a woman in society that this is the most effective way to transform Cleo into "a real lady" (Cleary 132).

As Jack persistently coerces Cleo into womanhood, his mind also focuses on a new woman in his life. He views his new love, Esther, as something his wife never was. To him she is the pinnacle of womanhood because she "ain’t ever worked reel hard," sings, cooks lavishly, and pays attention to dress and style (135). She fits society’s ultimate definition of womanhood due to her outward characteristics and lack of independence. Jack is finally satisfied, knowing he has found perfection in a future spouse and immediately withdrawals from the battle of shaping his daughter.

Although Jack fails at forcing Cleo into the confinements of society’s definition of womanhood, he still falls victim to society’s interferences. Only through the persuasion of others does he finally see that his deceased wife fit society’s mold; however, he neglects to recognize the genuineness she also had to offer. Ironically, he had a true woman from the start but did not take notice of her, instead admiring the superficial characteristics of more refined women. He allows others to force an impression on him because of its idealistic nature and acceptability among members of society.

Society may have influenced Jack’s definition of True Womanhood, but it failed to impact Cleo and her aspirations. Instead, Cleo has learned to find happiness in a non-conventional role, focused on personal satisfaction and individuality. This defiance in regard to the confinements of True Womanhood foreshadows a view of womanhood to come. "An Ornament to Society" is true to history, for women will grow tired of their role as True Women and desire to play "a more creative role in society" (Welter 40). True womanhood was just one phase in the defining of womanhood. Society will continue to invent numerous molds that will promote conformity; however, each role will aid womanhood in becoming a desired, ideal position in society.

Works Cited

Cleary, Kate M. "An Ornament to Society." Kate M. Cleary: A Literary Biography with Selected Works. Ed. Susanne K. George. Lincoln: University of Nebraska Press, 1997. 123-136.

Roberts, Mary Louise. "True Womanhood Revisited." Journal of Women’s History. 14 (2002): 150-157.

Welter, Barbara. "The Cult of True Womanhood." Dimity Convictions: The American Woman in the Nineteent Century. Athens: Ohio University Press, 1976. 21-41.

Posted: 6 May 2002