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Both Elizabeth Braddon’s novel, Lady Audley’s Secret and the critical essay by Jill Matus examine the concept of “madness” as it relates to Victorian society. At first glance, the novel’s use of madness seems to be nothing more than a plot device of a revelatory manner. It is hard to gainsay this initial reaction, but upon further thought and in light of Matus’ essay, the condition of madness provides a springboard for multiform interpretations of the text. The novel seems fully aware of the hazy line that surrounds the condition of madness. Lady Audley herself recognizes that, intellectually, she was always in control of her actions, turning the motivations of her crimes to the force of emotion. As Matus’ article touches upon, this distinction
In this chapter, Lady Audley greatly discusses how she would likely kill Robert Audley so he will not say anything. She states, “If he stood before me, and I could kill him…I would do it!” (Braddon, 640). She greatly fears that Robert Audley will tell everyone the truth so she describes on different methods on how to keep him silent. Also, in this chapter, Lady Audley leaves a candle lit in Phoebe Marks room so she can kill Robert Audley. She tells Phoebe that the wind blew out the fire when, in reality, it did not.
In the eighteenth century, the process of choosing a husband and marrying was not always beneficial to the woman. A myriad of factors prevented women from marrying a man that she herself loved. Additionally, the men that women in the eighteenth century did end up with certainly had the potential to be abusive. The attitudes of Charlotte Lennox and Anna Williams toward women’s desire for male companionship, as well as the politics of sexuality, are very different. Although both Charlotte Lennox and Anna Williams express a desire for men in their poetry, Charlotte Lennox views the implications of this desire differently than Anna Williams.
In examining how women fit into the "men's world" of the late eighteenth century, I studied Eliza Fenwick's novel Secresy and its treatment of women, particularly in terms of education. What I found to be most striking in the novel is the clash between two very different approaches to the education of women. One of these, the traditional view, is amply expressed by works such as Jean-Jaques Rousseau's Emile, which states that women have a natural tendency toward obedience and therefore education should be geared to enhance these qualities (Rousseau, pp. 370, 382, 366). Dr. John Gregory's A Father's Legacy to His Daughters also belongs to this school of thought, stating that wit is a woman's "most dangerous talent" and is best kept a well-guarded secret so as not to excite the jealousy of others (Gregory, p. 15). This view, which sees women as morally and intellectually inferior, is expressed in the novel in the character of Mr. Valmont, who incarcerates his orphaned niece in a remote part of his castle. He asserts that he has determined her lot in life and that her only duty is to obey him "without reserve or discussion" (Fenwick, p.55). This oppressive view of education served to keep women subservient by keeping them in an ignorant, child-like state. By denying them access to true wisdom and the right to think, women were reduced to the position of "a timid, docile slave, whose thoughts, will, passions, wishes, should have no standard of their own, but rise, or change or die as the will of the master should require" (Fenwick, 156).
One of the basic assumptions underlying any detective novel is a sense of social order. The novelist assumes that the reader agrees that killing people is wrong; it does not matter if the victims are exemplary citizens or odious individuals, it is the mere act of snuffing out another’s life that is against the social order. In P.D. James’ A Mind To Murder, Nurse Marion Bolam’s murder of her stuffy and self-righteous cousin Enid illustrates a situation where the nurse and her invalid mother had suffered from her cousin’s stinginess; James gives us a clear look at the murderer’s fear that if Enid had been given time to change her will as she had threatened to do, the Marion and her mother would never get the money to which they considered themselves entitled. However, James urges us to understand, this does not matter. Murder, for whatever reason it is committed, is still murder, and it is always wrong.
Mary Elizabeth Braddon's "Lady Audley's Secret" was published in 1861 and was a big success: a best-seller that sold over one million copies in book form. The protagonist, Helen Maldon - also known as Helen Talboys, Lucy Graham and Lady Audley - is a poor young beautiful woman when she marries the dragoon George Talboys, but his money only lasts for one year of luxury. When he no longer is able to offer her the life she always wanted - and now has got used to - she becomes angry and depressed, and George Talboys leaves the country to dig for gold in order to make his young wife with her new-born baby happy again. Not long after her husband has sailed for Australia, Helen Talboys decides she has had enough of the boring life she leads with her father and child and wants to try to find for herself the things she lacks. She sees an opportunity to start over and she grabs it: she leaves her child, changes her name and goes out as a governess. When the wealthy Sir Michael Audley proposes, she accepts and goes from the life as governess to the life of a Lady. The Lady Audley that we get to know is a woman who is sure of what she wants and will not let anyone stop her, which in the book is described as the acts of a madwoman. But is Lady Audley really insane or simply too ambitious and sure of herself for the Victorian era? Was "insanity" simply the label society attached to female assertion, ambition, self-interest and outrage?
When Victorian Era, England is brought up in most context’s it is used to exemplify a calm and more refined way of life; however, one may overlook how the children of this era were treated and how social class systems affected them. Samuel Butler’s The Way of All Flesh is a novel written to take a closer look at the life of children growing up in the unfair social hierarchy of Victorian Era England. Butler’s main characters are Theobald and Ernest, who grow up during the time period; Overton, who is Ernest’s godfather, is the narrator of the novel and provides insight into Theobald and Ernest as they mature through the novel. Theobald is the son of a wealthy, strict, and abusive father who treats him with no mercy, but leaves him with a rather significant inheritance from his Christian publishing company, at his death. Ernest is the son of Theobald, who beats him with a stern fits over even the pettiest things in
In Mrs. Dalloway, Clarissa Dalloway undergoes an internal struggle between her love for society and life and a combined affinity for and fear of death. Her practical marriage to Richard serves its purpose of providing her with an involved social life of gatherings and parties that others may find frivolous but Clarissa sees as “an offering” to the life she loves so well. Throughout the novel she grapples with the prospect of growing old and approaching death, which after the joys of her life seems “unbelievable… that it must end; and no one in the whole world would know how she had loved it all; how, every instant…” At the same time, she is drawn to the very idea of dying, a theme which is most obviously exposed through her reaction to the news of Septimus Smith’s suicide. However, this crucial scene r...
Thomas Blackburn describes the two Victorian poets, Robert Browning and Alfred, Lord Tennyson as being great contemporaries (47). As such it is apt that their works should muse upon and explore similar topics and themes. Their connection is especially evident in Browning’s “My Last Duchess” and Tennyson’s “The Lady of Shalott”. The themes of entrapment and incarceration feature heavily in both of these works. Specifically, it is the entrapment and incarceration of women which pervade their respective compositions. When taking into consideration the way in which women were viewed at this juncture in history- being nothing more than “beautiful objects” (Gilbert and Gubar 54), it is quite easy to see how the literary representations of the nineteenth century woman would be responses to such confines. While “My Last Duchess” can be looked upon as an investigation of the captor, represented by the Duke; “The Lady of Shalott” can be considered an exploration into the captive, represented by the Lady that gives the poem its title. Both poems are an analysis into the Victorian woman as an incarcerated and entrapped sub-culture of a predominately patriarchal society. It is no surprise then that the methods of which these fictional women take to escape comes at the cost of their lives.
The sensational novel is usually a tale of our own times. Proximity is indeed one great element of sensation. A tale which aims to electrify the nerves of the reader is never thoroughly effective unless the scene be laid out in our own days and among the people we are in the habit of meeting. In keeping with mid-Victorian themes, Lady Audley’s Secret is closely connected to the street literature and newspaper accounts of real crimes. The crimes in Braddon’s novel are concealed and secret. Like the crimes committed by respected doctors and trusted ladies, the crimes in Lady Audley’s Secret shock because of their unexpectedness. Crime in the melodrama of the fifties and sixties is chilling, because of the implication that dishonesty and violence surround innocent people. A veneer of virtue coats ambitious conniving at respectability. Lady Audley’s Secret concludes with a triumph of good over evil, but at the same time suggests unsettlingly that this victory occurs so satisfyingly only in melodramas (Kalikoff, 9...
Mrs. Dalloway covers a day in the life of the upper-class society involving Clarissa Dalloway and her friends, living in London post World War I. This passage is set at Regent’s Park as Septimus Smith, a World War I veteran suffering from shell shock, and his wife, Rezia, are waiting to see the psychiatrist William Bradshaw. Septimus’ daily life struggles are seen as he tries to emerge from a hallucination and back into the harsh London daylight. Despite being mentally ill and dealing with guilt over the loss of his best friend Evans, Septimus has great moments of clarity, as he is able to recognize the beauty that surrounds him. The use of repetition demonstrates Septimus constant battles with time as he keeps revisiting the battlefield and the only way to get away from those horrors is to be in the moment-by appreciating that “beauty is everywhere”. A continual sense of movement throughout the passage is evoked through the use of kinetic verbs, demonstrates that time cannot be held back and Septimus must continue to move forward despite his past.
Through an abundance of human thoughts and interactions, Woolf has created a meticulous juxtaposition of Septimus against society or human nature in order to emphasize the self-absorption and desire for conformity of London society. Londoners’ understanding of the War and its fatalities is often specifically and immediately related back to themselves, used for entertainment or to ease their own fears of death. Their “treatment” of war-related illness is unfailingly for the benefit of England’s successful, if gilded, image at large. Woolf has, therefore, illustrated England’s proud display of personal advantage for all who conform to Sir William’s “sense of proportion” by exposing the hardships that befall those who do not.
Jane Fairfax is a minor character in Emma who is a Bates woman. After Miss Campbell’s marriage to Mr. Dixon, Jane returns to Highbury. Emma, who is the main heroine in the text, shows her dislike towards Jane in many ways. Emma thinks that Jane’s position in society is lower than hers and it is not expres...
Even though Lady Audley attempts to solidify her role in society as a wife, her unconscious mind, the id, is greatly influenced and altered by her childhood-rooted feelings of jealousy and lower standing. She experiences momentary mental instability, not insanity, while striving for a better life than the one she is dealt. Although she experiences intervals of what could be considered possible insanity, such as when “she was obliged to place the flaming tallow candle very close to the lace furbelows” (Braddon 276), Lady Audley does not consciously leave the candle near the furbelows to start the fire, which is conveyed with the use of the word obliged. She experiences a temporary loss of control, where the id takes over because she is frightened
F. W. Mackenzie’s article, “On the Pathology and Treatment of Puerperal Insanity: Especially in Reference to its Relation to Anemia,” explores the theory that women during the Victorian time period became mad as a result of reproductive instability, which was thought to be inherited by daughters from their mothers. This theory holds true for both Braddon’s and Bronte’s novels as both Lady Audley and Bertha have mothers who went mad. In Lady Audley’s Secret, for example, Lady Audley’s strange actions are thought to have begun during the birth of her son, who she later abandons. The question of whether she is actually mad is somewhat alluded to towards the end of the novel in which she is imprisoned in a maison de santé in Belgium to die alone. It is because she goes against the society’s ideals of how women should be pure and pious, ideals that are held so righteously during this time period, that because she cannot be contained within the boundaries of proper femininity, that she is placed into asylum. In Jane Eyre, Rochester’s first wife Bertha is considered to be the ‘Mad Woman in the Attic’. She is described as impure, sexual, and rebellious and refuses to conform to codes of acceptable feminine behavior. It is for this reason that she is locked away and sentenced as being ‘mad’.
Houghton, Walter E. The Victorian Frame of Mind. 1830-1870 (New Haven and London, 1985), pp. 348-353.