Mary Robinson's The Natural Daughter

In Mary Robinson 's, The Natural Daughter, Martha, an eighteenth century young woman is faced with making choices that run counter to what is considered acceptable for a woman of her day. In a society that demeaned the worth of women and made it virtually impossible to succeed without the protection of a family or husband, Martha overcomes all obstacles while retaining her individuality. Does this make Martha a heroine or is she simply the protagonist in the novel? Whether Robinson intended her character of Martha to stand forth as a hero is impossible to establish with any certainty, and because the characterization of an eighteenth-century hero is dissimilar to modern day notions, to simply examine the textual definitions of each term would
prove inadequate. A determination of whether Martha is or is not a heroine must be based on the expectations and conditions of her own time. An examination of Martha 's actions and trials will show that Martha 's character is indeed a definitive portrayal of an eighteenth century heroine, whose extraordinary perseverance elevates her beyond that of a mere protagonist.

Martha lives in a time that requires women, once married, to give over governance of any property they bring into the marriage or subsequently acquire, to their respective husband. Martha 's society believed that women should "distinguish themselves as tender mothers and faithful wives rather than furious partisans. Since women 's ideal role was to be supportive to their husbands, care for their children, and provide a haven from the troubles of the outside world, the idea that they might wish an independent life or career of their own seemed unnatural," (Stearn 8) They were not allowed to have wills or enact any real estate transactions without consent of their husband. " By law, women had been deprived of equal property and civil rights; by custom they had been denied equal educational opportunities and access to public office," (Flory 251). The only way a married woman could establish ownership over marital property was through widowhood. Marital separation, regardless of who initiated it, left women destitute. English common law granted no rights to women over marital property. It "assigned all property, income, and child custody rights to husbands regardless of their fitness," (251). In essence, upon entering into matrimony, a woman became little more than an extension of her husband 's property and reliant upon his continued benevolence. "Socially and economically their activities have been largely circumscribed by the kitchen, nursery and other demanding aspects of human existence," (Truman, Schaeffer, Stewart & Hunter 738). Martha rejects this customary reasoning that women should be docile and grateful creatures who acquiesce to their father 's and husband 's restrictive code of feminine deportment. "Then women, from the moment that they marry, do not submit to personal captivity only? Marriage, in that case is little better than slavery," (Robinson 130). Martha defies the cultural emphasis placed on marriage and patriarchal order by not hesitating to leave her husband when unfairly accused of sexual impropriety. In a truly heroic manner she refuses to sacrifice her self-worth for that of her husband 's opinion even when she knows that she will become destitute.

Martha is a sensitive and compassionate character who disregards the domestic and cultural mandates of feminine behavior. "The home was the only field in which superior women might distinguish themselves. The family, in turn, was generally perceived as a hierarchy, with the man as father and head, and the women and children his inferiors," (Stearn 8). From the onset of the story we see examples of Martha acting outside of this restrictive code of feminine behaviour. She is the only one willing to help the wounded soldier, whom her father discounts as, "a guzzling vagrant" (Robinson 104), and is vocal in the matter of her father not following his doctor 's orders. Mr. Bradford 's scathing retort to his wife when she speaks up in the carriage, "I wish you had my gout, and we should then see whose temper is the most fretful...you have no business to ever speak" (93), displays his opinion of a woman 's advice. Undaunted by such displays of tyranny Martha is the only one of the Bradford women fearless enough to do more than passively allow her father to drink and eat himself to death. In a conversation with her mother, Martha 's concern for her father 's health is evident, "Patty, why will you contradict your father? My father will kill himself...no matter you must not contradict him." (106). Her anxiety over her father 's well being only serves to earn her further disfavour and eventual ostracism from her family but as evidenced by the text, Martha puts the matters of others above herself at all times.

Martha is unfavourably compared to her sister Julia, "the gentle Julia, admired as a model of feminine excellence; and the unsophisticated Martha considered as a mere masculine hoyden," (93). Mr. Bradford 's favouritism for Julia and disdain for Martha is emphasized when he vocalizes his opinion of suitable husbands, "Juley deserves a good husband, and Patty wants one to keep her in order," (93). Experiences such as these from within her dysfunctional family contribute to Martha 's hasty decision to marry Morley, "The evident partiality which had been shewn to her sister made her sigh for similar attentions," (115). Her observation of her parent 's wretched marriage leads her to conclude, "that love, which is not founded in esteem, cannot be of long duration," (115). Believing that Mr. Morley is someone she can respect and provide her with security and release from her parents, she agrees to the union. At the onset, her marriage appears to be successful, but her extraordinary expanse of compassion for others eventually leads her relationship to ruin.

Morley, upon returning from a business trip, discovers Martha 's involvement with an illegitimate child.
Martha 's steadfast resolve in not revealing Fanny 's parentage fuels his suspicions and with the insinuations from Julia regarding physical similarities, and a discussion with Mrs. Grimwood, "She made her report; and he made up his mind, that his wife was the mother of little Fanny," (132), Morley concludes that Martha is the biological mother of the child. Martha heroically refuses to allow her husband 's strict morality or accusation of premarital sexual impropriety to prevail over her sense of loyalty and compassion. It is this very moral fibre and sense of decency that eventually places Martha a position of being outcast from her marriage, "...on entering the garden-gate a letter was presented to Mrs. Morley by Mrs. Grimwood, requesting that she no longer insult the honour of her husband but remain at farmer Oldham 's till her conduct could be explained to his satisfaction." (139). Martha, with no hesitation in remaining loyal to Lady Susan, Fanny 's mother, even in her own defence, stands her ground and Morley forces her from their home. Rather than submit to the indignation of defending a wrongful accusation Martha leaves the Oldham farm to make her own way in the world. Martha refuses to allow the prejudices and suspicions of others to sway her from her convictions and in truly heroic fashion, casts aside the protection of family and enters into a society that is
selfish and prejudging.

Mary Robinson 's, A Letter to the Women and England encourages her female contemporaries to, "Shake off the trifling, glittering shackles, which debase you" (83) and to claim their rightful places as social and intellectual equals of men. Martha illustrates this call for liberation through the resolve with which she faces her predicament of having to provide for herself and her continued refusal to accept further male patronage. Abandoned by her mother, betrayed by her sister, forced out of her home, Martha repudiates the glittering shackles by declining the protection of Sir Francis Sherville, "I would if you allowed me, be your protector also" (140), and chooses instead to make use of the resources offered by the city to support herself, "determined on employing her last guinea in advertising for an asylum as companion to a single lady," (145). Throughout her hardships, persecution, and infamy Martha quietly perseveres, struggling to survive by undertaking numerous jobs, companion, poet, writer, and actress in her efforts to maintain an existence outside of the control of men.

Martha consistently expresses sympathy and compassion for all those that she comes into contact with, regardless of their treatment of her.
Mistakenly placed in an asylum, Martha discovers that her mother has been interred there as well. Despite having been abandoned and disowned in her own time of need by her mother, Martha feels only joy at being reunited and anguish for her parent 's condition, "supporting her mother 's head upon her bosom, and uttering the language of despair prompted by filial, fond affection," (244). Martha 's capacity for forgiveness is once again shown to be of heroic proportions as her concern is not for herself but for that of her mother who has constantly rejected and scorned her. Even when presented with opportunity for revenge upon Lady Pen Pryor who has often tormented her, Martha attempts no retaliation but simply asserts, "I cannot enter into the modern system of tormenting my own sex" (256). Martha neither submits to the character assassination and ill will that have been brought against her nor does she participate in it, choosing rather to interact with society in a positive manner in her efforts to support herself financially. It is through these experiences that Martha comes to the realization that she can pursue happiness and security independent of a man. This is indeed an admirable and heroic quality for a woman of this
time.

Throughout the novel, Martha continually strives to overcome the prejudices and social strictures to which women of her time were subjected. She eventually overcomes all obstacles, slander, and misfortunes that befall her, and finds happiness through the establishment of a family that is built upon her own values of gender equality and justice. From beginning to end, Martha displays an extraordinary sense of righteousness and certainty in her actions. She continually tries to do what she believes is right and just, though this is often counter to the demands of her culture. Robinson 's Martha is trying to create order out of the chaos of her society 's values and ultimately this is what solidifies her status as that of a heroine.

Works Cited

Chafe, William H. Women in Equality, Ed. Stearns, Peter N. The Rise of the Modern Woman. Illinois: Forum Press, 1978. 7-10

Flory, Harriette. The Modern World. New York: Longman Inc, 1988.

Robinson, Mary. A Letter to the Women of England and The Natural Daughter. Ed. Sharon M. Setzer Longmans: London, 2003.

Truman, Schaeffer, Stewart & Hunter. Modern Perspectives. Second edition. McGraw Hill: Toronto, 1979.