Argueta 1

Mila Argueta

American Literature

2 March 2018

Brother Cameron

In Defense of Man

While the women in “Roman Fever” do face a sort of oppression, the blame does not

necessarily lie in the hands of the males’. Rather, the men themselves are also committed to a

subjugation created by the larger ideological hand of ancient and repetitive society. This

ideology paradoxically places men in submission to their own power and station by not seeing

them as a living entity, as an individual entity, or as an acting entity.

Before approaching a defense of males within female-centered stories, it is important to

recognize how “Roman Fever” lays heavy, although subtle, claims on women’s subjugation to

man. Nothing is more telling than the effects of the deaths of Delphin Slade and Horace Ansley.

In reflection, Alida considers this widowhood a state of “unemployment” and a “drop” in station

from that of marriage (3). In other words, Alida is nothing without the living title of Mrs.

Delphin Slade. She is no longer busied and praised as secretary, party planner, or caretaker of

“the Slade” and household (3). And beyond that, the only thing that may give her purpose in

absence of her husband is her only son who also is no longer present, and who has only left

behind his unexciting sister (4). It is also interesting to consider that although these women are

independent with resources to spare, they use their new leisure time (no longer spent on

husbands) to mourn their honored role as wives, or to continue the roles that a patriarchal society
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has implanted in them such as knitting. They choose these activities over independently and

adventurously exploring the beauties of Rome. That is apparently how well-trained these women

have been, for their roles as man-servants do not end with the deaths of their men. Little else can

be expected when for both that is how it began. Alida, who shows strength and dominance even

in the determination of her nose, married a man, and with his name adopted his reputation, his

success, his career (1). Her success could only be seen through his eyes. Grace, on the other

hand, was arranged into a marriage and punished for an act of forbidden love. She was sent away

(10). Although by the end, she gains the upper hand in the rivalry between her and Alida, her

gains are pathetic. In this society, women should never publicly be seen as impure even if it takes

a man to soil them, and ironically they can only be salvaged if a man’s reputation cleans,

polishes, and hides all of the evidence. Finally, what is worse is the fact that the daughters

inherit this subtle oppression. Their vacations consist of matchmaking because what else is a

woman to do (5)? Nothing is more necessary for a woman than to hide the scorn of womanhood

through the last name of a man.

Such claims of misogyny and oppression are very heavy-handed and hold a strong case in

the eyes of many feminists especially. It seems as though throughout time man has put woman in

the place he wants her: beneath him. In his eyes help meet is nothing more than child bearer and

supporter of his ends. He is not to blame when he cheats or impregnates a woman. However,

there is evidence within the story that can redirect that guilt, and even relieve men of complete

blame. The first evidence of this occurs early on. As they leave their mothers the girls joke about

leaving them to their knitting, and in defense Grace Ansley responds that it is not about them

individually, but a more modern stereotype. Significantly she uses these words, “The new system

has certainly given us” (1). A system of sorts is the true source of these ideas of what a woman
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should be. This idea of systematic ideology is very apparent when the reader looks at the true

agency the men have.

At first glance, it seems like the men in this story are truly superior, but with a different

perspective that primary assumption fails to fully explain the circumstances that they find

themselves in. For example, Delphin Slade is a human individual with qualities beyond a career

and wealth, but that is all that is really written about him. Associated with this truth is the telling

line, “What, that handsome woman with the good clothes and the eyes is Mrs. Slade!”the Slade's

wife!” (3). While being an excellent example of the depreciation of Mrs. Slade, it is also a

depreciation of Mr. Slade. Why not use his name; why not say “Delphin’s wife,” or “Mr. Slade’s

wife?” It seems significant that an article usually preceding a simple noun is inferring that the

noun “Slade” that it is modifying is nothing more than an object. If Slade is only a noun then he

is not a living entity, a breathing individual with dreams, dislikes, and imperfections. Rather, he

is an image, an idea. Yes, Slade is to be praised and admired, but this admiration verges on

superficial and inhuman. If this idea reflects on men, it means that their importance and value is

objectified and depends on wealth and station rather than human qualities. And beyond

portraying them as people who lack these human living qualities, they lack individuality.

It is easy to see these men generally rather than as individuals, and because of this, the

objectification is furthered. The idea of matchmaking in this story embodies this generalization.

Take, for instance, the line, “That Campolieri boy is one of the best matches in Rome” (1) The

Campolieri boy is then seen as another possible choice from the mating pool for their daughters.

One that is fit, attractive, and capable enough to stimulate a powerful lineage. This idea of an

evolutionary view of man also ties in with Alida’s possessive references to Delphin in the

following lines directed at Grace, “But you failed; and I kept him” or “I had him for twenty
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years” (10). Men are to be kept and had. That is their place and their duty. And even if they did

not want to be possessed, the choice is not theirs. They not only become entities without life and

individuality, but they are entities that are ironically powerless within the roles of power in

which they have been placed.

Although this story seems to highlight the idea that men have more control of their future,

their failures, their identity in society, these men are actually similarly trapped by the

expectations of society. They can act, but their actions are very limited. No one seems to be a

more typical evidence of this argument then Mr. Horace Ansley. Joined with Mrs. Ansley he is

described as good-looking, irreproachable, exemplary, and yet a nullity (3). And he is a nullity.

He is mentioned a total of two times in this story. Both times he is only mentioned as a side story

to Grace. One of those times especially depicts him as a powerless individual one that is swayed

and controlled by a system. This time is the following description of his arranged marriage to

Grace, “How could I, when you were married to Horace Ansley two months afterward? As soon

as you could get out of bed your mother rushed you off to Florence and married you” (10).

Imagine that. Horace Ansley, a handsome, irreproachable individual, was forced to marry a

woman who not only was in love with another man, but had been impregnated by him. And

Horace Ansley according to custom and expectation was obligated to accept the arrangement. In

fact, the whole situation of the romance that led to a pregnancy is a perfect example of

limitations of male freedom under societal control. Because not only does it make Horace seem

powerless, but it also shows the lack of power that Delphin holds. Delphin and Alida were

probably considered a profitable match. Because of this, Delphin could not pursue his true love

interest (11). Parents, community, societal ideology had decided his future, and even if it lead to

success, it may not have led to full happiness. Men are placed in positions of supposed power,
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but they do not hold the ability to fully control what happens with that power. These men that

have been written in the shadow of strong and affluent women, are not at the head of their

oppression, rather they join with them under the strong hand of societal expectations and control.

An underlying truth of feminist texts, specifically “Roman Fever” is that patriarchal

oppression cannot be the whole answer when the men themselves do not have the power to even

fully manipulate their own lives and choices. Although Alida and Grace have been made

submissive to the role of man, this submission has taken place because of the system that has

been integrated and propagated over generations. The sad and ironic truth is that it is that society

that controls the screen and sets the stage. Any rebellion against such control leads to roads that

cannot ever satisfy. It leads to a woman who for twenty-five years lives across from her lover

and the father of her child while being married to man that she does not love (3).

References

Wharton, Edith. “Roman Fever.” doi:classiclit.about.com.