Performing Plainness in Sarah Stickney Ellis’s Friends at Their Own Fireside: Or, Pictures of the Private Life of the People Called Quakers

While Quaker plainness has encapsulated multiple positive meanings such as piety, worldliness and even human equality, many were attentive to its rootedness in social discipline and surveillance. Drawing on nineteenth-century assessments of Quaker plainness, both in journals and fiction, this article explores the dynamics of self-fashioning and performance that are exposed to be an important part of these bodily experiences of Quaker plainness. Plainness is not only self-disciplining but also controls the social and visual dynamics of displaying, seeing, and interpreting the body. Sarah Stickney Ellis’s Friends at Their Own Fireside: Or, Pictures of the Private Life of the People Called Quakers (1858) provides an intriguing account of the private experiences of plain Quaker women and their resistance to forms of social control and scrutiny. I use the context of this novel to examine the subjective experience of Quaker women as wearers of plain dress in ways that expose their agency and involvement in observing and adhering to these codes rather than completely or obliviously succumbing to social authority and control. The exploration of female plainness in this novel, as I will argue, confounds the notions of discipline attached to Quaker plainness, and instead brings to light women’s agency in navigating their identity and personal space in such a context.