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Ormond tells the story of the young chaste Constancia Dudley's attempts to support herself and her family and to preserve her republican virtue, in a community threatened by a yellow fever epidemic, rising tides of immigrant refugees from political crises around the world, and confidence games associated with emergent market capitalism. In this novel Brown establishes a set of circumstances wherein male and female virtues are tested under the pressure of marketplace just outside the door of Constantia's home in Philadelphia. This setting in the city actuates the volatile interactive possibilities between private and public space, highlighting a confluence of separate sets of economic and personal values.
A public man like Ormond gains power beyond the capability of virtue to sustain: the very public nature of his intercourse, predicated as it is on the “fictional” value of paper money and stocks, encourages fraud and deceits. On the other hand, while Constantia makes of her limited sphere of the household an opportunity to practice the female virtues, she must confront in the privacy of her own home, finally the fraud and malice hired in the marketplace. The private world of domestic activities depends on and ultimately is the model of the public world of commerce. The “private” domain could no longer remain separate from a “public” world of economic activity by the end of the eighteenth century. As a result, the private property of Brown's work positions women in the contradictory space of domestic virtue beset by an encroaching public ethos of market-exchange relations.
The collapse of a structural opposition between public and private also deconstructs the gendering of those spaces that contain women within the private, domestic sphere. Brown's vision of intersection between the private world of the individual and the public world of the nation is pessimistic.
The novel rationally debates the values of marriage, but offers no models of healthy marriage at all. In the end, Brown despairs over the possibility of public and private spheres safely intersecting through marriage in America where he is seemed to lose all hopes against the newly emerging corrupted market society.
A public man like Ormond gains power beyond the capability of virtue to sustain: the very public nature of his intercourse, predicated as it is on the “fictional” value of paper money and stocks, encourages fraud and deceits. On the other hand, while Constantia makes of her limited sphere of the household an opportunity to practice the female virtues, she must confront in the privacy of her own home, finally the fraud and malice hired in the marketplace. The private world of domestic activities depends on and ultimately is the model of the public world of commerce. The “private” domain could no longer remain separate from a “public” world of economic activity by the end of the eighteenth century. As a result, the private property of Brown's work positions women in the contradictory space of domestic virtue beset by an encroaching public ethos of market-exchange relations.
The collapse of a structural opposition between public and private also deconstructs the gendering of those spaces that contain women within the private, domestic sphere. Brown's vision of intersection between the private world of the individual and the public world of the nation is pessimistic.
The novel rationally debates the values of marriage, but offers no models of healthy marriage at all. In the end, Brown despairs over the possibility of public and private spheres safely intersecting through marriage in America where he is seemed to lose all hopes against the newly emerging corrupted market society.
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