The Mask of Consumption: How Performing a Higher Class through Consumption Leads to Social Mobility in Middlemarch
By Hailey Schopper
The idea of conspicuous consumption is not new despite the extreme overconsumption and fascination with brand name items that exists in contemporary culture. Thorstein Veblen coined the term “conspicuous consumption” in 1899 as a way to describe when the purchase and display of expensive goods becomes a sign of social prestige for the wealthy (Rudd). Even before this term was officially coined, the concept still existed as exemplified in George Eliot’s Middlemarch through the character of Rosamond Vincy. I argue that in George Eliot’s Middlemarch the character of Rosamond Vincy and the advertisements present in the original edition promotes the idea that one could successfully move up the social hierarchy by performing a class higher than their own through consumption of material goods. There are three advertisements in particular that can be directly linked to Rosamond’s consumption: Cramers, Mr Streeter, and J. MacMichael's Imperial Silks. Throughout this essay I will use close reading to argue that original audiences may have seen consumption as a way to perform class because of the advertisements and Rosamond’s eventual success in moving up the social hierarchy.
During our first introduction to Rosamond, it is clear that she is unsatisfied with her current social status and aspires for more as seen through a conversation with her mother when she claims she does not want to marry “any Middlemarch young man” (Eliot 69). To Rosamond, no man in Middlemarch is good enough to fulfill her dreams of moving up in class because she wants someone who has good relations that will allow her to completely shed her previous rank (Eliot 83, 115). Further, Rosamond is unsatisfied with the “unladylike” (Eliot 69) way her mother speaks during this conversation. Due to her education at Mrs. Lemon’s, Rosamond understands the proper way for a lady to act, speak, and dress, but her family is unfamiliar with this way of living because of their lack of education. Throughout the novel we continue to see that Rosamond desires more in her life, and in order to achieve more, she performs a class higher than her own to attract the interest of higher ranking men. One way we see this performance is through her musical abilities acquired at Mrs. Lemon’s.
The paid education Rosamond received from attending Mrs. Lemon’s helped her develop musical abilities that contribute to her performance of a higher class. Attending a school like Mrs. Lemon’s is a form of consumption in itself because of the costs associated with it; further, attending this school allowed Rosamond to learn the expected behaviour of a lady. According to Mrs. Lemon, Rosamond’s “musical execution was quite exceptional” (Eliot 67-8) which reveals Rosamond’s proficiency in music and performance. S.G. Peskin claims that Rosamond identifies music with social accomplishments which contributes to this performance of a higher class (76). Rosamond uses her education from Mrs. Lemon’s to develop her idea of a “perfect lady” (Eliot 116) in terms of music, language and attitude. The display of musical talent works to perform a higher social class in itself, but the ownership of an instrument furthers this performance.
Alongside her education, Rosamond performs this higher class through her family’s ownership of a piano which allows her to exhibit her musical talents. While we never see the Vincy’s purchase the piano, it can be assumed that a purchase occurred at some point which is important because without the physical instrument, Rosamond would be unable to display the skills she acquired while at Mrs. Lemon’s. Additionally, owning a piano is a way to demonstrate class because of the cost attached to it. The first line of the Cramers advertisement states “Cramers’ Three Years’ System” which implies a payment plan for those looking to purchase an instrument. Payment plans would make instruments more affordable, especially for the rising middle-class who could afford smaller increments over time as opposed to a large sum all at once. This advertisement comes in the front matter of Book 2 which is right after we have been introduced to Rosamond at the end of Book 1, and this placement is strategic in terms of consumer psychology. Rosamond cannot simply change her class, but she uses music to perform a higher class at the end of Book 1, and when original readers open the next book they see an advertisement for pianos. Original readers may unconsciously connect this musical performance to consumption because of the close proximity of the narrative and the advertisement. While there was two months in-between the publishing of each book, the introduction of Rosamond was the last thing readers consumed which would keep it top of mind. The connection between class performance and consumption is less obvious with education and instruments as it is with jewelry; however, it still would have impacted the experiences of original readers.
Jewelry is another way one can display their status as seen by the jewels left behind by Celia and Dorothea’s mother. Celia wants to look at the jewels their mother left behind, and while Dorothea does not believe in expressing herself this way due to her religious beliefs, she relents to Celia and allows them to look through the jewels. According to the narrator, “[i]t was no great collection, but a few of the ornaments were really of remarkable beauty” (Eliot 9) which implies that the quality of the jewels is more important than the quantity. In her article, Jean Arnold says that “jewelry’s pure exchange value communicates such a concentration of cultural meaning that it has the signifying power to mark and define socio-political positions and divisions” (269) which can be seen through Celia, Dorothea, and Rosamond. An interesting overlap between the Brooke girls’ jewelry and Rosamond’s is the presence of purple amethysts. The purple amethyst necklace that belonged to Celia and Dorothea’s mother is described as “the finest that were obvious at first” (Eliot 9) which suggests that this specific piece of jewelry is extremely valuable. Later, when Lydgate is assessing what he can sell to lessen his debt, he mentions “some purple amethysts costing thirty pounds, which [he] had bought as a bridal present” (Eliot 399). Purple amethysts are clearly highly desirable, and a specific piece of jewelry Rosamond uses to perform a higher class.
Jewelry is a subtle way for one to display their class status because of its high cost and low utility which is why Rosamond is hesitant to part with it. When Lydgate approaches Rosamond about his debt she does not understand what he wants her to do, but she eventually gets up and brings him the jewelry he gifted her for their wedding. At first, it may seem like Rosamond is okay with giving up these jewels because she brings them without being asked, but the diction surrounding this interaction makes it clear she is unhappy with this parting. Rosamond says things “with perfect propriety” and “was convinced that no woman could behave more irreproachably than she was behaving” (Eliot 404) which suggests that she behaves this way because she is supposed to. These quotes make it clear that Rosamond behaves in this way because it is expected, which is a type of performance in itself. She does not want to give up this jewelry because it is a way for her to continue this performance of a higher class. While she has moved up due to her marriage to Lydgate, she is still unsatisfied with her social status. She is still stuck in Middlemarch and the person that helped elevate her status is in a large amount of debt which restricts her ability to perform. Without pretty things such as jewelry, Rosamond’s performance begins to falter even as she tries to maintain it through her words and actions.
Advertisements for Mr Streeter “goldsmith, jeweller, and merchant in precious stones” are featured throughout every installment in the original edition of Middlemarch which encourages this performance of class through consumption. Not only are these advertisements featured in every installment, but they are placed on the inside of the cover page meaning they are the first advertisement presented to readers. Placing these advertisements at the front meant that original readers would have become familiar with them and it would have kept jewelry top of mind. Beginning the novel with Celia and Dorothea going through their mother’s jewelry directly after seeing an advertisement for jewelry unconsciously connects consumption and class for readers. Additionally, this advertisement was present before Book 6, when Rosamond reluctantly offers to give up her jewelry, reminding readers that the consumption of these goods contributes to her performance of a higher class. The advertisement claims that they provide jewels “To T.R.H. The Prince and Princess of Wales and the Duke of Edinburgh” which aligns their products, and therefore those purchasing them, with royalty. Throughout the novel, Rosamond repeatedly acts in ways she thinks will present her as high class, so the repetition of jewelry advertisements acts similar to encouragement of this performance. It seems to say, “if you purchase this jewelry, you too can move up the social hierarchy through performance.” Essentially, performance using jewelry, as well as clothing, becomes the first step to making social gains through marriage.
Rosamond also uses her clothing as a way to perform a class higher than her own by wearing items that appear expensive. It is not surprising that Rosamond uses clothing to perform given that “[d]ress is important in the novel as a social indicator” (Flint 69) because “Eliot presents us with a society that employs and interprets costume as a signalling device” (Flint 69-70). One key example of Rosamond’s attention to detail with her clothing occurs when Mrs. Bulstrode visits Rosamond at home. Mrs. Bulstrode claims “[s]he herself was handsomely dressed, but she noticed with a little more regret than usual that Rosamond, who was just come in and met her in walking-dress was almost as expensively equipped” (Eliot 202). Even when wearing attire designed for outdoor activity, Rosamond’s clothing appears expensive. This is a subtle way of performing a higher class because she takes what should be seen as average attire and elevates it in a way that displays her wealth. Another example of Rosamond’s expensive dress as a way to perform high-class occurs when Dorothea comes to visit the Lydgate home with hopes of speaking to Mr. Lydgate. Rosamond is described has wearing a “pale-blue dress of a fit and fashion so perfect that no dressmaker could look at it without emotion, a large embroidered collar which it was to be hoped all beholders would know the price of” (Eliot 294). Rarely does a person want someone to look at what they are wearing and view it as cheap, so this quote implies that Rosamond wants people to recognize her expensive clothing. To Rosamond, wearing expensive clothing is a way to silently declare her wealth in hopes of catching the attention of those she aspires to be like. Given that Rosamond “was not without satisfaction that Mrs. Casaubon should have an opportunity of studying her” (Eliot 294) it is clear she wants people to notice her.
An advertisement for imperial silks present thoughout the installments further supports this idea of consumption as a way to perform a higher class. Words such as “elegant” and “exquisite” are used to describe the silks one can procure from J. MacMichael which implies high quality items. While Rosamond is never explicitly described in the imperial silks presented in the advertisement, it is clear that she wears high quality clothing that could be compared to that produced by J. MacMichael. Similarly to Mr Streeter, J. MacMichael produces products for royalty as they are “stationer to the Queen and H.R.H the Princess of Wales” which implies that their products are the highest quality around. Taking the diction and royal buyers into account, this advertisement implies that their products are the best there is. When you combine this sentiment with Rosamond’s successful high-class performance it seems plausible that through the consumption of goods one can put on a believable enough performance to allow them social mobility.
Some may argue that Rosamond’s performance is inaccurate to the class she looks to inhabit and therefore she actually makes herself stand out as an outsider. In her chapter, “Middlemarch and the Extravagant Domestic Splendor” Krista Lysack mentions that “advice literature often echoes the sentiment that a lady should avoid showy dress” (Lysack 98). Based on the descriptions of Rosamond’s clothing throughout the novel, it appears that she wears what is considered “showy dress” which is not what high-class ladies wore. This inconsistency between reality and her performance seems to imply that she has not successfully or accurately performed the class she wants. Further, some may argue that this inaccuracy works against Rosamond’s goals; however, they fail to consider the entirety of her performance. Rosamond does and uses a variety of things to perform in the way she believes high-class women behave. Eliot describes Rosamond’s actions best when she says, “[f]or Rosamond never shows any unbecoming knowledge, and was always that combination of correct sentiments, music, dancing, drawing, elegant note-writing, private album for extracted verse, and perfect blond loveliness” (183). Beyond her less tangible actions, Rosamond uses material goods—pianos, jewelry, and clothing—to present herself as the perfect high-class lady. Lastly, even if Rosamond’s clothing was too “showy” it did not detract from her performance. She marries Lydgate, moving her up the social hierarchy, eventually she moves to London, and after Lydgate dies she remarries an even wealthier doctor further raising her status within society. Accurate or not, Rosamond’s performance of high-class allows successful upwards social mobility for her throughout her life.
I have argued that in George Eliot’s Middlemarch Rosamond Vincy gains social mobility through the performance of a class higher than her own through the consumption of material goods which is further emphasized through the advertisements present in the original publishing context. Whether you love or hate Rosamond, it is undeniable that she is one of the most successful characters in Middlemarch given that she is exactly where she dreamed of being by the end of the novel. As original audiences read this novel and saw Rosamond’s success through performing, the advertisements present throughout may have led people to believe they too could find success if only they had the right products. One limitation in my research is that I exclusively looked at Rosamond in terms of consumption and performance. Further research could look at other characters and conversations present in the novel that exemplify this same connection to further develop the claims I made here. Through Rosamond's story we learn that sometimes "fake it till you make it" is the way to success and social mobility.
Works Cited
Arnold, Jean. “Cameo Appearances: The Discourse of Jewelry in Middlemarch.” Victorian Literature and Culture, vol. 30, no. 1, 2002, pp. 265-88, https://doi.org/10.1017/S106015030230113X.
Eliot, George. Middlemarch, edited by Ronjaunee Chatterjee, W.W. Norton & Company, 2024.
Flint, Kate. “The Materiality of Middlemarch.” Middlemarch in the Twenty-First Century, edited by Karen Chase, Oxford UP, 2006, pp. 65-86.
Lysack, Krista. “Middlemarch and the Extravagant Domestic Splendor.” Come Buy, Come Buy: Shopping and the Culture of Consumption in Victorian Women’s Writing, Ohio UP, 2008, pp. 80-108.
Perkins, S. G. “Music in ‘Middlemarch.’” English Studies in Africa, vol. 23, no. 2, 1980, pp. 75-81, https://doi.org/10.1080/00138398008690772.
Rudd, Annie. “Visual Culture and Consumption.” COMS 381 Lecture, 10 March 2026, University of Calgary, AB. Lecture.