Evelina by Frances Burney: Shaping The Identity Of A Woman Through Homosocial Male Relationships

Frances Burney made her mark upon the 18th Century literary world through her anonymous release of Evelina Or The History Of A Young Lady's Entrance Into The World (1778). The reason behind her anonymity can be traced through her understanding of public scrutiny against women, as she depicts through Evelina Anville. In one of her letters, Burney depicts her worry, "I am frightened out of my wits from the terror of being attacked as an author, and therefore shirk, instead of seeking, all occasions of being drawn into notice" (Unwin 16). A writer named George Hudderford, in the second part of his poem Warley: A Satire, exposed "dear little Burney'' publicly as the authoress of the novel (Cooper), which brought her much attention, including that of eminent writers such as Samuel Johnson and Edmund Burke (“Frances Burney” The British Library). Her influence on other writers has grown in time and even includes Jane Austen. Burney's contempt towards the imposing exposure by Hudderford's poem is perceived in her letters as she calls his work a "vile poem" (Cooper). Hester Lynch Piozzi, (also known as Mrs Thrale), an English writer who was a fan and friend of Burney, formally introduced her as the novelist of Evelina to the world, after which Burney published more books and plays under her own name. Burney's most significant relief was when her father - the author of her being as she put it in her dedicatory verses to Evelina - lavished his prasis on it" (Unwin). Therefore, it is well understood that there was a prominent male readership amongst Burney's first novel recipients.

Evelina is a novel that recognises the realistic nature with which men perceived the women of society in the 18th century. The rich novel that serves as Burney's entrance into the literary world is also the entrance of Evelina Anville, fictitious protagonist of Burney's epistolary, into the Georgian London society that is sprawling with men who are full of criticisms against women. Taking into consideration the importance Burney showed in receiving positive reviews from her male readers, this paper will explore how Burney has sculpted that character of her protagonist. Men in the novel, including Reverend Mr Villars, Sir Clement Willoughby, Mr Lovell, and even the nameless gentleman who sits next to Lord Orville, often overrule the female comments and opinions; for better or for worse, they show superiority by oppressing Evelina through their words and actions. For instance, Villars tells Lady Howard that he disapproved of her writing to Sir Belmont. Even though he has the right to make decisions for Evelina as her guardian, he could have consulted with Evelina before making his decision. Therefore, Villars' imposition on Evelina is based on his rejection of accepting Evelina's growth. Contrarily, the men that Evelina encounters are quick to judge her based on her ambiguous social status; Willoughby's obscene treatment, whereas Lovel judges and stereotypes her as a common country girl by comparing her to Miss Prue from Love For Love. Even Lord Orville is quick to judge Evelina upon their first acquaintance at the assembly, calling her "pretty modest-looking girl" who is "silent" (Burney 36-37). Therefore, while Burney's fears stemmed from negative criticism from the male-run society, she does an excellent job of criticising male behaviour in her novel.

This paper will discuss the realistic presentation of male behaviour towards women in 18th-century society, which inevitably proves that society is based on homosocial relationships, which frames the reputation and deposition of how women are perceived. In other words, the paper will argue that the social structure formed by men eliminates the importance of women in society, as presented in Evelina by Burney. To achieve this argument, the paper will first prove the scepticism every parent has to let their daughter into society and then discuss the consequences of a woman entering society without an established social status. Inevitably proving that social status does not matter because women are discriminated against based on gender. Thus, demonstrating the homosocial workings that silence men who recognise the problems of gender discrimination, allowing classist and sexist norms to define social workings. Therefore, through the discussion of the overprotective Mr Villars, we will see that Evelina entered society with an ambiguous social status, which resulted in men such as Lovel and Willoughby stereotyping her behaviour and consequently her being as classless and promiscuous. Through the discussion of the nameless gentleman, the paper will prove that society is male-run; therefore, the discrimination which was perceived to be based on class is actually based on gender. Furthermore, through Lord Orville, the paper will discuss the workings of a homosocial society, which is built rigidly to prevent women from gaining any importance to protect their homosocial relationships.

Over Protectiveness of Reverend Mr Villars

Evelina Anville's ambiguous social status results from her lineage, which is loudly echoed by Villar's extreme protective nature towards his ward. Before being introduced to the letter that Evelina writes to Villars, which makes up the majority of the narrative, the readers are made to understand the circumstances of Evelina's parentage and Villar's reason for being so protective. In his letters to Lady Howard, Villars writes that he has "supported [Evelina] from her earliest infancy to her sixteenth year" (Burney 17) and later shows his apprehensions in saying that Evelina did not "even for a moment, quit [his] sight, without exciting apprehensions and terrors which almost overpower [him]" (Burney 18). Villar's worry for Evelina stems from his understanding of the delicacy of a woman's reputation, which he calls "the most beautiful and most brittle of all human things" (Burney 166). Like any other parent-like figure, the Reverend's caution comes from his experience with Evelina's mother, Caroline Evelyn.

Mr Evelyn, Evelina's maternal grandfather, had handed his daughter, Caroline Evelyn, to the protective hands of Villars before he died. Under the care of Villars, Evelyn was sent for by her mother, Mrs Duval (Caroline's mother remarried after the death of Mr Evelyn), to be brought to Paris, which Mrs Duval had made her new home. Mrs Duval, whom Villars calls "an object of pity" (Burney 15), wanted to control her daughter by threatening her with disinheritance if she did not marry her nephew. Caroline, a young but smart girl of seventeen, ran away and married Sir John Belmont, a baronet. However, Belmont refused to acknowledge their union after finding out that Caroline had been disinherited and did not have any money to offer Belmont after marriage. Caroline, pregnant with Evelina, found her way back to Villars. Consequently, Evelina's notions of keeping her identity private stem from Villars' understanding of the reputation of women in society as "brittle" (Burney 166), which he has instilled in Evelina.

Though I have always called her by the name of Anville and reported in this neighbourhood that her father, my intimate friend, left her to my guardianship; yet I have thought it necessary she should herself be acquainted with the melancholy circumstances attending her birth: for though I am very desirous of guarding her from curiosity and impertinence, by concealing her name, family, and story, yet I would not leave it in the power of chance to shock her gentle nature with a tale of so much sorrow (Burney 21).

Villars’ worries for Evelina entirely arise from Evelyn’s “ignominy” (Burney 337), which took place under his care and protection. Nevertheless, while Villars was attempting to keep the society’s “curiosity” about Evelina at bay, he excited more curiosity in Evelina to explore English society. For instance, when Evelina asks for permission to travel to London, her excitement and curiosity is understood through her extra level of affection and flattery, just like any daughter would show towards her father when they desire something:

my most honoured, most reverenced, most beloved father! for by what other name can I call you? I have no happiness or sorrow, no hope or fear, but what your kindness bestows, or your displeasure may cause. You will not, I am sure, send a refusal without reasons unanswerable, and therefore I shall cheerfully acquiesce

(Burney 26).

Evelina's request for permission to go to London is the first letter that is addressed by her, which shows the presence of masculine superiority. However, Villars did not want Evelina to experience the same, or even similar kinds of tragedies as her mother experienced: owned and then alienated from family (Madame Duval), victim to falsehood by a man (Belmont denying the marriage), and overall public humiliation (as a consequence of the two). Nevertheless, in protecting Evelina, he is overprotective by not allowing Evelina the decision or providing her with the guidance to contact her father.

While Villars shows good judgement in warning Evelina against the perceptions of Madame Duval, whom he calls "uneducated and unprincipled; ungentle in her temper, and unamiable in her manner" (Burney 15), and even the Branghtons, Villars should have trusted the education and upbringing he provided Evelina to allow her to make her own decisions such as with an influential figure like her father. Even though it should have been Mr Villars who wrote a letter to Sir John Belmont, which could have negated the confusion caused by the midwife switching her child for Evelina, Lady Howard writes to Belmont. Therefore, Villars becomes an imposing character in Evelina's life because of his overprotection, which does not allow her too many freedoms. On the contrary, Lady Howard, a female character of lesser significance in the life of Evelina, becomes more significant in the novel because of the role she plays in initiating dialogue with Sir John Belmont, even though she had "so short a period the honour of [his] acquaintance" (Burney 132). Therefore, Burney shows Villars as an overprotective character by giving Lady Howard the authorship of the letters that would eventually define Evelina's social status and allow her the rightful title to marry Lord Orville-- completing the natural calling for a marriage of equals, Gamos.

Ambiguous Social Status

Unknown to society, Evelina enters the fashionable Georgian English Society in London under the guidance of the Mirvan's. Maria Mirvan, daughter of Lady Howard, accompanied Evelina to London, where she was introduced as Miss Anville. Consequently, Evelina, unattached to her paternal title as "Lady Belmont," is considered to have an ambiguous social status. The affront theme of Evelina finding her identity through the narrative becomes certain towards the end of the novel (Pawl). Even though fully aware of her parentage and the circumstances of her birth, Evelina is evidently finding her identity. In her first letter to Villar, she signs her name "Evelina----" telling Villars that she cannot use the name "Anville" to sign her letters to him, while also asking, "what other name may I claim?" (Burney 26). Her uncertainty to claim a name proves that she does not know where she belongs, which is later echoed in Lord Orville's proposal to her; Evelina says, "I hardly know myself to whom I most belong" (Burney 353). Evelina did have hope to be claimed by Sir John Belmont, which is why on receiving her first rejection for an audience with her father, she wrote to Villars claiming to be "wholly [his], Evelina" (Burney 162). Therefore, due to the nature of secrecy and being unknown of her own place in society, it is no surprise that her identity in public settings is a question mark. Thus, the paper will now look at how Evelina's ambiguous social status made her the object of desire of many men (Lovel, Willoughby and the unnamed 'gentleman' sitting next to Lord Orville) as well as the consequences she had to endure due to it.

Evelina made a public appearance in the fashionable London society at an assembly where she encountered Mr Lovell, Sir Clement Willoughby and her future husband, Lord Orville. This ball is emphasized due to "half the world" (Burney 30) being present, suggesting that this "Private Ball" (Burney 30) was Evelina's big public appearance. Coming from the confines of country life, where she lived with Rev Villars, Evelina was new to the customs, which seemed natural to the other guests present at the assembly. Additionally, since Villars had already raised Evelyn, he was aware of the feminine thinking to instil in Evelina, which is seen through Evelina's superior knowledge about how she, as a woman, should be treated by a man. In beginning the narrative of what took place at the ball, she gages the room:

The gentlemen, as they passed and repassed, looked as if they thought we were quite at their disposal, and only waiting for the honour of their commands; and they sauntered about, in a careless, indolent manner, as if with a view to keep us in suspense. I don't speak of this in regard to Miss Mirvan and myself only, but to the ladies in general: and I thought it so provoking, that I determined in my own mind that, far from humouring such airs, I would rather not dance at all, than with any one who would seem to think me ready to accept the first partner who would condescend to take me

(Burney 30).

Even though Evelina was undoubtedly correct in understanding that the company with whom she is seen can lead to significant assumptions by the other people present in the room, she was misjudged and chided for her mannerisms, as we will see through Lovel, Willoughby and Orville. Evelina knows and understands her role as a woman in a society, which she can reject and accept whoever’s hand she pleases. However, through this assembly scene, Burney shows that women of the 18th Century were not allowed to reject men, even if they made them feel uncomfortable. In a way, Evelina was as prepared as one can be before the live public performance but yet failed to perform-- inevitably depicting the anxieties of many young women of the 18th Century.

A confused idea now for the first time entered my head, of something I had heard of the rules of an assembly; but I was never at one before, – I have only danced at school, – and so giddy and heedless I was, that I had not once considered the impropriety of refusing one partner, and afterwards accepting another

(Burney 35).

When a woman makes her entrance into society, she becomes the subject of utter scrutiny (which consists of the way they dress, their mannerism, facial features and more) by not only the men but also women. Going to theatres, opera’s, balls, and promenading were different ways to see and be seen. To be seen is to be the subject of talk. Therefore, the kind of company a person kept in public in the 18th century was necessary, and Frances Burney seems to be depicting that through Anville’s rejection of Mr Lovell, a gentleman whom she has not been formally introduced to by a mutual, thus whose name she did not know before being asked to dance.

Consequences Of Being a Woman

Lovel’s Classism: Mr Lovel, “a senator” of the Lower House of Parliament (Burney 361), was the first to ask Evelina to dance at the “Private Ball, given by Mrs Stanley” (Burney 28). However, when Evelina introduces this noble figure at the beginning of her letter to Villars, she addresses him as “a young man” (Burney 30), suggesting that they had not been formally introduced. Evelina passes her judgement on Lovel:

Not long after, a young man, who had for some time looked at us with a kind of negligent impertinence, advanced on tiptoe towards me; he had a set smile on his face, and his dress was so foppish, that I really believed he even wished to be stared at; and yet he was very ugly.

Bowing almost to the ground with a sort of swing, and waving his hand, with the greatest conceit, after a short and silly pause, he said, "Madam – may I presume?" – and stopt, offering to take my hand. I drew it back, but could scarce forbear laughing. "Allow me, Madam," continued he, affectedly breaking off every half moment, "the honour and happiness – if I am not so unhappy as to address you too late – to have the happiness and honour – "

(Burney 30)

Through this first encounter, we learn that Evelina is well within her right to accept and deny a man based on whom she wants to be seen within the public. In judging Lovel’s appearance, Evelina shows that she is a quick learner of London fashion. Evelina had gone “a-shopping” (Burney 28) with Mrs Mirvan to prepare for this ball, which allows her to pass judgement based on her suitor’s appearances. Moreover, there seems to be hesitancy and blandishment in how Lovel speaks to Evelina by repeating the words “honour and happiness” twice in one sentence. Evelina is an intelligent young lady and understands her worth, which is seen when she accepts to dance with Lord Orville, whom she describes as:

about six-and-twenty years old, gaily but not foppishly dressed, and indeed extremely handsome, with an air of mixed politeness and gallantry, desired to know if I was engaged, or would honour him with my hand. So he was pleased to say, though I am sure I know not what honour he could receive from me; but these sort of expressions, I find, are used as words of course, without any distinction of persons, or study of propriety

(Burney 31).

The comparison that Evelina draws between Orville and Lovel is through her mention of Orville being “not foppishly dressed,” “handsome,” versus Lovel’s description of being “foppish” and “ugly” (Burney 31). However, the most significant differentiation is the approach the two characters take in asking Evelina to dance. Orville “desired to know” if she was previously engaged to dance with someone, whereas Lovel was more unsure in his words, beginning with “may I presume” (Burney 30). Therefore, Lovel is portrayed as a character who is not confident nor accustomed to conversing with women with dignity.

Furthermore, even though Evelina told Lovel that she would not like to dance with him and expected to not dance with anyone else that evening, it was Lovel who decided that he would keep himself “disengaged, in hope [she] would relent” (Burney 31). After which, he accused Evelina of being “guilty of ill-manners” (Burney 37) for dancing with Lord Orville. The exciting notion presented here are the social rules that men expect women to follow; Lovel asked Evelina to dance, and she said “No” (Burney 31) to him; however, she is well within her rights to change her mind and dance with a partner she felt more comfortable with. Evelina never said that she ‘was not going to dance,’ she merely said she “believed” she “should not” (Burney 31). Therefore, in holding Evelina accountable solely because she refused her first dance to be with him, Lovel is showing his egocentric and self-centred nature by making a quick judgement about her, mainly because he stereotypes her as mannerless because she is from the countryside, as perceived in the scene while discussing the characters of “Love For Love” (Burney 79).

"For my part, I was most struck with the country young lady, Miss Prue; pray what do you think of her, Ma'am?"

"Indeed, Sir," cried I, very much provoked, "I think – that is, I do not think any thing about her."

"Well, really, Ma'am, you prodigiously surprise me! – mais, apparemment ce n'est qu'une facon de parler? – though I should beg your pardon, for probably you do not understand French?"

I made no answer, for I thought his rudeness intolerable

(Burney 83).

Based on Willoughby’s comment of calling Evelina a "country parson's daughter", (Burney 37) Lovel stereotypes her "ill-manner[ed]" (Burney 38), portraying his prejudice. Therefore, while it was already certain that Lovel thinks lowly of Evelina based on his quick-judgement of her character, it becomes more certain when he compares Evelina to Miss Prue, a character from Love For Love. As depicted in the scene above, Lovel believes Evelina to be uneducated because she lived most of her life in the country; Lovel assumes that Evelina does not speak french. However, while it is not explicit that Evelina does speak french, she does mention going to a "little comedy in French and Italian" when the Mirvans and herself went to see "Fantoccini'' (Burney 50), which suggests that she did have an understanding of the language. Moreover, since Monsieur Du Bois mainly spoke french and Evelina spent much time with him, her french can even be presumed to be fluent. Therefore, Lovel depicts his own ill-manners through his misjudgement of Evelina. He demeans Evelina by labelling her a common country girl by comparing her to Miss Prue and insulting her education and worldly knowledge based on a bit of encounter at the "Private Ball" (Burney 28).

Furthermore, Lovel only turns the conversation towards Evelina in the theatre when he has no more retorts for the banter he started with Captain Mirvan, comparing him to "Mr Tattle" (Burney 82). Even though Evelina was never part of the banter between the two men, she gets dragged in by Lovel because she makes an easy target. In other words, not having a quick snap back to the Captain's comparison of Lovel to "Mr Ben" (Burney 82) (a character from the play Love For Love), Lovel targets Evelina through his words because he presumes her to be an insignificant - a girl of "country breeding" and "rural ignorance" (Burney 83).

Lovel's indecency against Evelina is exceptionally shocking because he is a member of parliament. Being a member of the "Lower House" (Burney 361), the House of Commons in the British Parliamentary System, Lovel plays a part in making laws for the country. Through his stereotyping of the education he expects a country-bred girl to receive, Lovel depicts the patriarchal system, which is rigid and scrutinising towards women, especially those who are not of the upper-class. As a person who represents a part of the state, Lovel has to maintain an outward good impression on people, which is why he states:

"For my part," said Mr Lovel, "I confess I seldom listen to the players: one has so much to do, in looking about and finding out one's acquaintance, that, really, one has no time to mind the stage. Pray," most affectedly fixing his eyes upon a diamond ring on his little finger, "pray – what was the play to-night?"

(Burney 82).

While his statement can be argued for his role being portrayed as being a dynamic character who attends public gatherings for business reasons, it can also be perceived that in being around the upper-classes, Lovel is not fulfilling his obligations as a member of Parliament to learn about and understand the problems of society. In a way, Lovel is one of society's problems because he participated in demeaning women based on class and gender.

Willoughby's Obscenity: Following the lesson of denying a man directly, when asked to dance at the second assembly, Evelina did not "dare refuse this gentleman as [she] had done Mr Lovel" (Burney 41), instead she tells Willoughby that she is "already engaged" (Burney 41). The relentless Clement Willoughby was utterly charmed from the first moment he laid his eyes on Evelina, calling her the "most beautiful creature" and "angel" (Burney 36-37) when conversing with Lord Orville, which is before he made his formal acquaintance with the object of his desires-- Evelina. However, Willoughby never hides his admiration for Evelina as he called her a "Charming creature," "generous creature", and even suggesting that she has soft eyes (Burney 37-38). Willoughby is entirely unknown to the Mirvans as much to Evelina, making his shower of compliments received as depicting vulgarity. Mrs Mirvan says:

"Sir," answered she gravely, "I have not the pleasure of being acquainted with you."

"I hope when you have, Ma'am," cried he, undaunted, "you will honour me with your approbation: but, while I am yet unknown to you, it would be truly generous in you to countenance me; and I flatter myself, Madam, that you will not have cause to repent it."

Mrs. Mirvan, with an embarrassed air, replied, "I do not at all mean, Sir, to doubt your being a gentleman, – but – "

"But what, Madam? – that doubt removed, why a but?"

(Burney 44).

In stopping her “but” with “urgent entreaties” (Burney 45), Willoughby depicts an overbearing man, especially in this case; burdening the women by making them uncomfortable with his presence and relentlessness in asking to accompany Evelina to a dance. Even though Willoughby is full of admiration for Evelina, his attitude towards her is imposing because it is unwanted. Evelina’s subsequent encounter with Willoughby is through the mutual hatred that Willoughby and the Captain have towards Madame Duval. Willoughby seems to become a family friend of the Mirvans, being invited to “join [their] party” (Burney 59) by being part of the plan to ridicule Madame Duval in the carriage scene, and always pretending to be there for Evelian out of respect and good nature.

Willoughby does seem like a character who is always saving Evelina from bad situations; For instance, when the Branghton sisters left Evelina alone in an ally, where strange men nearly raped Evelina.

"The voice of the prettiest little actress I have seen this age," answered one of my persecutors.

"No, – no, – no – " I panted out, "I am no actress – pray let me go, – pray let me pass –"

"By all that's sacred," cried the same voice, which I then knew for Sir Clement Willoughby's, "'tis herself!"

"Sir Clement Willoughby!" cried I. "O, Sir, assist – assist me – or I shall die with terror!"

"Gentlemen," cried he, disengaging them all from me in an instant, "pray leave this lady to me"

(Burney 198).

However, Willoughby himself brought Evelina’s worst nightmares to life when he attempted to take advantage of her in a similar way. On several occasions, Willoughby would take Evelina’s hand in his without an invitation and plant it with a kiss (Burney 213), which is echoed in his treatment of Evelina in the carriage scene after the opera; Willoughby forcefully takes Evelina into his carriage and gives his chariot driver different instruction than the address which was given my Evelina to take her home to the Mirvan’s.

Never, in my whole life, have I been so terrified. I broke forcibly from him, and, putting my head out of the window, called aloud to the man to stop. Where we then were, I know not; but I saw not a human being, or I should have called for help

(Burney 100).

In the carriage scene where Willoughby forcefully takes Evelina into his carriage, under the pretence of taking her to the Mirvan's, he tries to rape her. Upon Evelina realising that he had given his coach driver different instructions than the address of the Mirvan's, Evelina threatens Willoughby that she would jump out of the carriage. Therefore, Willoughby blames the coach driver and orders him to give them the address given by Evelina. Upon nearing the residence, he tells Evelina not to tell the Mirvans about his conduct as an attempt to protect his reputation:

Sir Clement now poured forth abundant protestations of honour, and assurances of respect, intreating my pardon for having offended me, and beseeching my good opinion: but I was quite silent, having too much apprehension to make reproaches, and too much anger to speak without.

In this manner we went through several streets, till at last, to my great terror, he suddenly ordered the man to stop, and said, "Miss Anville, we are now within twenty yards of your house; but I cannot bear to part with you, till you generously forgive me for the offence you have taken, and promise not to make it known to the Mirvan's."

(Burney 100).

As a man who does not respect women, Willoughby’s character portrays every woman’s fear by trying to hide his true predatory nature. Willoughby shows himself as a gentleman, trying to be there for Evelina, showering her compliments. Willoughby even defended Evelina upon Lovel, comparing her to Miss Prue, suggesting his surprise that Lovel could even think of comparing “Miss Anville even for a moment” to Miss Prue (Burney 83). Therefore, Willoughby becomes one of the scariest characters in the book because of his hidden disrespectful thoughts for Evelina. In other words, since Willoughby has bad intentions, his pretension of trying to be good becomes worse because he tries to hide his true predator nature to maintain his reputation, as seen by telling Evelina not to tell the Mirvans about his conduct in the carriage.

Moreover, Willoughby’s continence towards Evelina is caused by his assumptions. Even though Willoughby does not use the words himself, he does assume Evelina to be a “little actress” (Burney 198), which is another word for prostitute, similar to the strange men in the ally - as seen through the carriage scene. Therefore, considering Willoughby’s conduct towards Evelina in the carriage, he is interpreted as a character who judges a woman coming from the country as promiscuous -- a woman of lower breeding than himself, which allows him the audacities of taking advantage.

Even though Evelina does not tell the Mirvan’s about Willoughby’s impertinence, she does tell Mr Villars and the readers. In doing so, Burney is commenting on the social discrimination that society has against women. To elaborate, if Evelina tells the Mirvan’s or tries to complain about Willoughby’s attempt to take advantage of her, she is putting her own reputation at stake because a woman’s reputation, as suggested by Villars’ is the “most brittle” (Burney 166) thing in society. Therefore, if Evelina were to complain, she would become the talk of society and not the person (Willoughby) who actually sinned. By telling the readers and Mr Villars, by way of her letters, Evelina is concealing her anguish and not letting Willoughby’s character gain the satisfaction of escaping the tag of a tarnished reputation. It is after the carriage scene that Willoughby begins to treat Evelina with a little more respect. For instance, when he counters Lovel’s comment on comparing Evelina with Miss Prue, suggesting that a character like Miss Prue would not “engage the attention of Miss Anville even for a moment” (Burney 83).

Even though Willoughby meets Evelina several times in the company of the Branghtons and Madame Duval, which allows him to think that she does not come from nobility (as she actually does from her father’s side), it is demeaning for him to assume that she would be a promiscuous woman based on her initial ambiguous social status. Moreover, what proves Willoughby’s obscenity is his acceptance of being “ignorant [him]self” (Burney 107) of nature and being of Evelina Anville.

"For Heaven's sake, Willoughby, who is that lovely creature?"

But what was my amazement, when, listening attentively for the answer, though my head was turned another way, I heard Sir Clement say, "I am sorry I cannot inform your Lordship, but I am ignorant myself."

(Burney 107)

Therefore, Willoughby based his judgement on Evelina being a nobody in society - having an ambiguous social status - and based on her country breeding and pretty looks. Willoughby, thus, depicts a man in Evelina’s narrative as a man who makes women uncomfortable through their persistent unwanted presence and frivolous disposition towards them, especially if not attached to a noble’s title.

Generalising a Gentleman’s Sexism: While Lovel and Willoughby depict their male inherited faults through their judgement of Evelina being a common country-bred woman, the nameless gentleman portrays the general sexism that exists within all men in society-- suggesting that no matter the social status of a woman, women are generally understood to be inferior to men.

Lordship! how extraordinary! that a nobleman, accustomed, in all probability, to the first rank of the company in the kingdom, from his earliest infancy, can possibly be deficient in good manners, however faulty in morals and principles! Even Sir Clement Willoughby appeared modest in comparison with this person

(Burney 107).

To prove the general sexism that all men have, Burney introduces the ‘gentleman’ as a nameless character without an attachment to social status. After which, through Willougbhby referring to the person as “Lordship,” Evelina, as well as the readers, learn about the Gentleman being a nobleman. The emphasis on this person as a gentleman here indicates that Burney had the opportunity to leave the status of this man ambiguous, its placement in Willoughby’s reply to the nobleman’s question about Evelina is clearly tactful. If Burney had not emphasized the “gentleman” being a Lord, the readers would have understood this person to represent ordinary society. However, through the emphasis and surprise of Evelina, the readers are made to realize that even educated and high ranking men share the same delusions as uneducated men who believe women do not have the ability to be as capable as the men in society. Burney proves through the Gentleman that men hold power in society, which is solely based on their gender. Men often assert their male inherited power to suppress and make them uncomfortable - similar to Willoughby’s unwanted relentless persuasion to dance with Evelina at the second dance and Lovel’s comparison of Evelina to Miss Prue to assert his power; to prove the domination of the male sex.

The impertinence that Willoughby and Lovel show towards Evelina based on her social status is thus mirrored. In other words, the Gentleman’s social status, just as Evelina’s, initially, is ambiguous. While Evelina’s social status is unknown to the characters, the Gentleman’s social status was not immediately revealed to the readers. Therefore, because the characters present at the table are aware of the Gentleman being a nobleman, they do not attempt at dissuading the discomfort he is causing Evelina. Thus, the readers are made to realize when people are aware of social status, especially ranks that include titles like ‘Lord,’ ‘Lady,’ ‘Noble,’ ‘Sir,’ they gain more respect and consequently have fewer troubles in society, even if they are in the wrong. Since Evelina was not attached to a title, as mentioned, she had many difficulties navigating her way to learn social customs upon her entrance, which were utterly novel to her. Having a defined social status allows others to recognize how they should treat another person; good conduct and deposition are received by people who are wealthy or have some kind of social power.

Nevertheless, through the general awareness of his own ranking, just like Willoughby and Lovel, the ‘gentleman’ uses his power to objectify Evelina through his disturbing male gaze. In other words, because the ranking nobleman - “Lordship” - is too aware of his position in society, he takes liberties of exerting his powers without shame.

At the same table with Lord Orville sat a gentleman, – I call him so only because he was at the same table, – who, almost from the moment I was seated, fixed his eyes steadfastly on my face, and never once removed them to any other object during tea-time, notwithstanding my dislike of his staring must, I am sure, have been very evident. I was quite surprised, that a man, whose boldness was so offensive, could have gained admission into a party of which Lord Orville made one; for I naturally concluded him to be some low-bred, uneducated man; and I thought my idea was indubitably confirmed, when I heard him say to Sir Clement Willoughby, in an audible whisper, – which is a mode of speech very distressing and disagreeable to bystanders, – "For Heaven's sake, Willoughby, who is that lovely creature?"

(Burney 107).

Evelina's speech suggests that it did not matter who Evelina is because no matter who she is, she would be below the "first rank of the company in the kingdom" (Burney 107) and inferior to a man's gaze. Even though Evelina was visibly uncomfortable by the gentleman's uninvited stare, she could not openly tell him to look away.

Moreover, being a woman, mainly unknown in society, invites questions. Whether this gentleman was asking Willoughby if Evelina was a promiscuous woman is uncertain; however, in calling Evelina "that lovely creature," he shows disrespect, for there are better ways of inquiring about another person. Even Willoughby's first ask to be acquainted with Evelina to Orville was more subtle and respectful - he asked Orville, "Why, my Lord, what have you done with your lovely partner?" and then commented on her being a "beautiful creature" (Burney 36-37). By mentioning this comparison with Willoughby, it merely proves that the general's conduct was too forward.

The "audible whisper," which Evelina recognises as "distressing and disagreeable" (Burney 107), suggests that the gentleman wanted her to hear his words, which depicts the gentleman's nasty and entirely discomforting disposition. Therefore, a good disposition is based on subtlety; the entire being of the 'gentleman' is understood to demean Eveline in the novel. While it is proved that the gentleman is entitled due to his rank - position in society, his demeaning perception towards women becomes certain as he interrupts the ladies upon Orville asking for their opinions on the opera. The gentleman says:

"What signifies asking them girls? Do you think they know their own minds yet? Ask 'em after any thing that's called diversion, and you're sure they'll say it's vastly fine – they are a set of parrots, and speak by rote, for they all say the same thing: but ask 'em how they like making puddings and pies, and I'll warrant you'll pose 'em. As to them operas, I desire I may hear no more of their liking such nonsense

(Burney 110).

This blunt, realistic discrimination against women, as portrayed by Burney, through the nameless gentleman who is a nobleman, proves that a woman's opinion does not matter in the 18th-century society no matter their social status. The gentleman shows the perception of irrelevance that all men have towards women. Thus proving, the social status of a man does not matter in their discrimination towards women. Men have the power to publicly criticise women without being persecuted, and that woman is not considered to have opinions in society; their entire being only existing to appease men.

Homosocial Relations

Orville's Double Role: Through Lovel, Willoughby and the nameless noble gentleman, the paper has proved that men in the 18th century discriminated against women, which vastly affected Evelina's appearance through the novel. Therefore, this paper claims that women are defined based on how men define their relationships in society. To elaborate, Lovel demeaned Evelina by comparing her to Miss Prue because the Captain's comment hurt his ego, Willoughby's excessive persistency to dance with Evelina because he wanted to try his luck similar to Lovel, the nobleman's disregard for women in general as a show of power. Therefore, homosocial bonds influence the perception of women in society because men make a sport out of discriminating and demeaning women in society, which influences the way women are perceived in society.

Lord Orville piques interest by depicting a balance between maintaining homosocial bonds and winning the narrator's heart by changing his disposition based on his audience. Orville never openly defends Evelina in troubling social situations but would show his concern in private to Maria Mirvan and even to Evelina on some occasions. For instance, Orville speaks boldly, about his first encounter with Evelina, with Willoughby and Lovel at the "Private Ball" (Burney 30).

"Whether ignorant or mischievous, I will not pretend to determine; but certain it is, she attended to all I could say to her, though I have really fatigued myself with fruitless endeavours to entertain her, with the most immovable gravity; but no sooner did Lovel begin his complaint, than she was seized with a fit of laughing, first affronting the poor beau, and then enjoying his mortification"

(Burney 37-38).

Orville did not know that he would be overheard by Mrs Mirvan when making his claims of Evelina being "silent," "a poor weak girl," "ignorant or mischievous" (Burney 36-37). He plainly expressed his perception of Evelina without fear of judgement because he was amongst his male audience. Therefore, Orville proves that he is no different from the other male characters in the novel, who similarly made false and quick claims about Evelina's character.

Additionally, even though Orville did not enjoy the company of Evelina as he talks about his "fruitless endeavours to entertain her" (Burney 37), he did not have to judge Evelina's character publicly. To expand; Willoughby had already shown his interest in Evelina by inquiring, "Why, my Lord, what have you done with your lovely partner?" and then quickly exclaiming, "she is the most beautiful creature I ever saw in my life" (Burney 37), whereas Lovel was a step further in having already asked Evelina to dance before Orville. Therefore, both men already charmed by Evelina, Lord Orville did not have to pass rash judgements to them about Evelina being "silent" or "a pretty weak girl" (Burney 36-37). Consequently, his depreciation for Evelina is perceived as his attempt at forming homosocial bonds based on the cost of Evelina's reputation.

Nevertheless, it can be argued that Lord Orville was talking badly about Evelina to protect her from the predatory notions of Willoughby. But because Willoughby would still try his luck to dance with Evelina in the next assembly, Orville seemed to have intensified Willoughby's curiosity rather than lowering his charms towards her. Through this conversation, Willoughby gets the idea that he can be more shrewd with Evelina than a woman of high society. The words used to describe, apart from the ones already mentioned, also included, "pretty modest-looking girl," "ill-bred," and "ill-mannered]" (Burney 37). Therefore, based on this conversation about Evelina being an exercise of homosocial bonds, not only did Lord Orville pass rash judgement on Evelina's character but also incentivized Willoughby's evil intentions.

While Lord Orville tightens his homosocial bonds at the cost of Evelina's reputation, he "contented himself with an inquiry after [Evelina and Mrs Mirvan's] healths [the next] morning [after the ball], by his servant" (Burney 38). Orville, thus, seems courteous and flirtatious because of this subtle attempt to inquire about the health of the two ladies. However, this paper would like to further argue that Lord Orville only shows signs of consideration in private to the ladies but no concerns in public settings. Orville's tactic is to change the topic of discussion rather than attempt to correct a male counter on the ladies or even Evelina in Particular. Orville was present while the three men, as mentioned in their paper, take their turns in demanding Evelina but never openly criticized them like he did Evelina in front of Willoughby and Lovel. For instance, upon Lovel comparing Evelina to Miss Prue, Sir Clement Willoughby attempts to openly defend Evelina, suggesting Lovel's impertinence in comparing Evelina to a low-bred country girl. Whereas Lord Orville merely tags along and changes the topic too, "the only female in the play, worthy of being mentioned to these ladies is Angelica" (Burney 83). Nevertheless, Orville showed his distress about Lovel's behaviour to the privacy of Mrs Mirvan:

"There is nothing," answered he, "which requires more immediate notice than impertinence, for it ever encroaches when it is tolerated." He then added, that he believed he ought to apologize for the liberty he had taken in interfering; but that, as he regarded himself in the light of a party concerned, from having had the honour of dancing with Miss Anville, he could not possibly reconcile to himself a patient neutrality.

He then proceeded to tell her, that he had waited upon Mr. Lovel the morning after the play; that the visit had proved an amicable one, but the particulars were neither entertaining nor necessary: he only assured her, Miss Anville might be perfectly easy, since Mr. Lovel had engaged his honour never more to mention, or even to hint at what had passed at Mrs. Stanley's assembly

(Burney 103).

Orville’s character is relatively transparent to readers who are reading Evelina’s letters and observing a pattern in his behaviour as being double-sided in maintaining homosocial bonds and depicting the privacy of intimacy. Mrs Miravn, Evelina and thus, the readers do not know the mannerism of speech or words in which Orville communicated with Lovel. Therefore, Orville can benefit from the doubt of showing consideration publicly, standing up for the right and wrong taking place in front of him. Regardless, the incidents that regarded Evelina and women’s reputation following Lovel’s impertinence show otherwise.

Similar to his attempt at using digressions, Lord Orville succumbs to upholding homosocial bonds at the cost of Evelina’s safety. After imprinting his impression of Anville upon Willoughby through their ‘private’ homosocial conversation at the “Private Ball” (Burney 30), Evelina is tormented by Willoughby at the second dance. However, the tormenting goes further as Willoughby attempts to take advantage of Evelina by way of suggesting to take her home to the Mirvan's. Lord Orville was present before Willoughby whisked Evelina away. Therefore, Lord Orville did have the power to not allow Willoughby to take Evelina home in the first place.

Had Lord Orville then repeated his offer, I would have accepted it notwithstanding Sir Clement's repugnance; but I fancy he thought it would be impertinent. In a very few minutes I heard Madame Duval's voice, as she descended from the gallery. "Well," cried I hastily, "if I must go – " I stopt; but Sir Clement immediately handed me into his chariot, called out, "Queen Ann Street," and then jumped in himself. Lord Orville, with a bow and a half smile, wished me good night (Burney 98).

Lord Orville can be interpreted to have approached Evelina and Willoughby based on Evelina’s “inexpressibly distressed” (Burney 98) expressions as she did not want to be seen alone with Willoughby. Thus, upon his approach, Orville had an inclination that Evelina was uncomfortable being in the company of Willoughby. Orville quick suggested that his “servants are ready to take any commands Miss Anville will honour [him] with for them” and that he himself shall “go home in a chair” (Burney 98), which shows that Orville was well aware that a man and women unaccompanied in the same carriage can give the wrong impression in society-- tarnish Evelina;s reputation. His attempts to help Evelina can also be read as his attempt to correct Willoughby’s intentions of travelling with Evelina alone in a carriage. However, his strive proved weak as Willoughby did not relent. Therefore, Orville is, once again, read as a character who fails to break the homosocial bonds of society; he was not able to dissuade Willoughby. In contrast, it cannot be reassured that Orville was fully aware of Willoughby’s intentions, but the fact that Orville “found it impossible to return home, before he enquired after [Anville’s] safety” (Burney 101) clearly depicts that he did incline Willoughby’s evil intentions. Consequently, even though Orville made sure that Evelina got home safe, he played a double-sided character; in upholding his homosocial commitments, he failed to stop his friend from harming a naive young girl as well as from reaching Mirvan’s house before Evelina showed his “great politeness” (Burney 101) within the privacy of the ladies.

Likewise, to his failed attempts of breaking homosocial bonds based on discrimination against women, Orville does not attempt to help Evelina against the nameless noble Gentleman. As depicted in the quote in the section dedicated to the Gentleman’s sexism, Lord Orville was part of the company and thus the table when the Gentleman had his “fixed his eyes steadfastly” (Burney 107) on Evelina. Orville was present when the Gentleman gave his speech that demeaned the entire sex of women. However, what seems to have caught Orville’s attention the most is when the Gentleman kept taking Evelina’s hand in his:

"O you cannot, must not be so barbarous." And he took my hand, and ran on, saying such fine speeches, and compliments, that I might almost have supposed myself a goddess, and him a pagan paying me adoration. As soon as I possibly could, I drew back my hand; but he frequently, in the course of conversation, contrived to take it again, though it was extremely disagreeable to me; and the more so, as I saw that Lord Orville had his eyes fixed upon us, with a gravity of attention that made me uneasy

(Burney 112-113).

Once again, there is silence from Lord Orville to depict any signs of consideration for Evelina. Having “his eyes fixed..with gravity of attention that made” Evelina uneasy suggests that Orville’s consideration was only felt by Evelina, which again shows his dedication towards the homosocial bond that demeans the existence of women. Orville failed to speak up on every occasion where he could have uplifted the notion of women in society; he did not do so because speaking for the benefit of women is breaking the bond that men have developed. The silence that Orville depicts is the failure of society to recognise women outside the perspective of a man. However, when a man recognises that it is wrong in the workings of the social structure, they have to hold their peace not to disrupt their own homosocial networking. When Orville sees Evelina’s hand being grasped by another man, he realises the consequences of his silence, which is why his distressed looks are transparent. However, because they are only transparent to Evelina, his bystander character is no better than a character such as Willoughby and the gentleman who act on their evil dispositions.

In all, Lord Orville’s character is depicted interestingly in the novel; As proved, he is a silent character in public and subtle in his ways of good manners through his use of privacy. The only reason the readers are so attracted to know more about him is only because of Evelina’s intrigues and gravitational pull towards him. She clearly holds him to great value; right from her first description of him as “handsome” and “not foppishly dressed” (Burney 31) to her making an excuse for his failure to help escape the dangers of Willoughby, as she suggests: “I fancy he thought it would be impertinent” to repeat his offer to use his carriage to go home (Burney 98). Evelina’s character is utterly charmed and thus blinded, by Orville, to the extent where she cannot see beyond his good traits, for she openly criticises all other characters. However, as readers, we see the realistic social commentary presented by Burney on the behaviours of all men in the novel, including Captain Mirvan, Lord Merton, Mr Macartney and even Monsieur Du Bois. Each male character plays a role that objectifies women in their own nature. For instance, Captain Miravn ridiculing Madame Duval and even Lord Merton, Mr Macartney, and Monsieur Du Bois flirting with Evelina. Even though it is a little different in the case of Madame Duval being the subject of disregard because of her own rudeness, all the men take uninvited liberties in judging Evelina as promiscuous in one way or another; men take unwanted and uninvited liberties with women. These liberties shape the way women are perceived in society, even though they are not the ones at fault; as Villars said, “Remember, my dear Evelina, nothing is so delicate as the reputation of a woman; it is at once the most beautiful and most brittle of all human things” (Burney 166).

Out of all the male characters presented, Lord Orville charms Evelina because of his choice to stay silent in public situations, which is a sad irony because he labelled Evelina as “silent” (Burney 36) as his first negative impression of her. Orville understands the same brittleness in a woman’s reputation that Villars suggests, which is why he shows the little consideration that he is permitted to show in a society that is based on male relations, which bond the ignominy of women.

Conclusion

Reverend Mr Villars, Mr Lovel, Sir Clement Willoughby, the nameless gentleman and Lord Orville are central figures in the making of the perception of Evelina in the society which she was entering. However, they were also her obstacles through which she learned ways to navigate her way in society. Therefore, the paper mainly concentrated on these central key male figures who influenced her Entrance Into The World. The other male figures, such as the Captain, Monsieur Du Bois, Mr Macartney, and even her biological father, Sir John Belmont, Bart played significant roles in their own respects in influencing Evelina's life, their negative impact was not in comparison to the figures mentioned in the paper because they enter Evelina's life after she made her first official public Entrance Into The World, as suggested in the title as well.

This 18th-century text has undeniable political resonances today. The focus on the role of homosocial relationships between men in determining the perceptions and self-perceptions of women has particular relevance in the contemporary moment; in the age of burgeoning feminist movements, Burney's novel is an artefact of and a challenge to patriarchal history. Evelina Or The History Of A Young Lady's Entrance Into The World could have been considered a novel about the entrance of a young woman entering the judgemental and consequently scary society of England. Still, today's reading of the same novel can be considered a commentary on homosocial relations that shape women's perception in society. In other words, Burney's novel reads differently today because of the changes in women's positions in society, which is highlighted because Evelina was considered to have been read as a guidebook in the 18th-19th century.

Thus, the paper even suggests that Frances Burney's anonymous release of Evelina, along with her high regard for the opinion of her male readership, is attributed to the more significant number of accomplished male authors compared to the number of female authors of her time. Although male characters are central to this text, Burney's approach to them appears to be a subtle criticism of their positions in society, as they ultimately become obstacles in the way of Evelina's fruitful entrance into London upper-class society. Evelina's public introduction into Georgian London society is mirrored through Burney's entrance into the literary world itself, as both worlds were dominated by male influences (Hollis). Consequently, the paper has presented an argument about Evelina being a novel about female perception being controlled by male prejudices and their homosocial relations to maintain their homosocial bonds. The male understanding of themselves, which influences female perceptions by society and themselves-- keeping men, such as Orville, that recognise the wrongs of the social system, mainly against women, to stay complicit.

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