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In Daphne Du Maurier’s Rebecca, Rebecca engraves herself into the lives of every character without being present, or even alive, proving her deceptive and manipulative habits even from the grave. Remembered as “the most beautiful creature” with “a smile that was not forgotten,” who could even be adored by “the most difficult person to please,” Rebecca exploits her beauty to deceive everyone around her to her true nature (Du Maurier 43,134). Everyone who saw Rebecca, blinded and deceived by her beauty and charisma, saw past her truly evil persona and believed her to be the most entrancing, accomplished woman. Maxim, however, saw her as her true “vicious, damnable, rotten” self who “was incapable…of decency” and “was not in love with anyone” …show more content…
but herself, despite her frequent affairs (271,340). Right “before she died,” Rebecca knew how to manipulate the lives of others so that even in death “she would win in the end” (265). In the moments before her death Rebecca, manipulative by nature, procured a plan to control the lives of those around her even when she died. Without being present in the novel, Rebecca casts a haunting shadow over the lives of the residents of Manderley proving her manipulative temperament. Perhaps the most dynamic character in Daphne Du Maurier’s Rebecca, the timid, young Mrs.
de Winter finds her identity and confidence when thrown into the unfamiliar world of Manderley. Recalling the chilling events that occurred at Manderley, the young Mrs. de Winter remembers how she “lost [her] diffidence, [her] timidity, [her] shyness” created by her “intense desire to please” (9). Before Manderley, the narrator lacked confidence and did not truly know herself until faced with a life-changing secret. Threatened by the memory of Rebecca and starting a new life, the narrator lived “tortured by doubt and indecision” at Manderley, but slowly “[her] shyness fell away” as she learned to confront the fears she faced (24, 98). Without an identity, the young narrator felt overwhelmed and frightened until she slowly gained confidence to defend herself as the new Mrs. de Winter. Upon discovering the shocking truth about Rebecca’s death, the narrator must over come “[her] old fears, [her] diffidence, [her] shyness” and “[her] hopeless sense of inferiority” or there “[would] never be another chance” to find herself and live her own life (264). No longer threatened by the memory of Rebecca, the young narrator receives a new found confidence to live as she wishes with Maxim as his wife. Arriving timid and codependent to Manderley, the narrator gains confidence and identity as she faces a new life haunted by
secrets.
Like the Good Other Woman, the Evil Other Woman often spends much of her life hidden away in the castle, secret room, or whatever, a fact suggesting that even a virtuous woman’s lot is the same she would have merited had she been the worst of criminals. The heroine’s discovery of such Other Women is in the one case an encounter with women’s oppression-their confinement as wives, mothers, and daughters-and in the other with a related repression: the confinement of a Hidden Woman inside those genteel writers and readers who, in the idealization of the heroine’s virtues, displace their own rebellious
‘Rebecca’ and ‘The Bloody Chamber’ convey the gothic theme of isolation by employing the embodiment of dominant male characters. The femme fatal persona in ‘Rebecca’ creates a stigma about how Mrs de Winter should act. The Fairy-tale form causes development of female power and causes a sense of resilience throughout the collection of short stories. The use of controversial issues of feminine empowerment exercises the idea that women should have more power within heterosexual relationships. There are several Gothic conventions within both texts, for example setting is vital because the authors use immense, reclusive places like Manderly and the Castles causing physical entrapment for the feminine roles. Violent characteristics from Maxim and
Mrs. Danvers bond with the late Mrs. De Winter is not just a typical servant/mistress relationship, nor even friendship; it is stronger and more passionate than mere companionship. In Chapter Fourteen when Mrs. Danvers finds the narrator looking in Rebecca’s room, she demonstrates adoration for everything that was Rebecca’s: “That was her bed.
Winter tries to do whatever she can to take care of her sister, help her mother, get her father free and everything back to the way that it use to be. Everything seems to go wrong after that happens and Winter is only worried about herself from then on. The characters in this novel all represent individuals in every urban slum in America from the lords to the workers, from the young children growing up fast in the culture of violence and moral decay
There, up high on her throne, manipulating them as game pieces on a chessboard, their fate will be decided by her; their lives are used to advantage her purposes. Before the victim is trapped, they are charmed by the seemingly heartless fiend. Then, at that point without knowing, deluded into being her follower. In the novel Rebecca, the late Mrs. de Winter, or Rebecca, had shown some qualities that could classify her as a sociopath. Throughout the novel, there are small clues that whisper the truth; they are revealed to have been hints for Rebecca’s true nature. Rebecca shows essential characteristics that expose her sociopathic disposition, such as, being manipulative and lacking the ability to feel remorse.
First, Connie and her mother focused on outward beauty rather than inward beauty, which can never be tarnished. Connie’s mother was jealous of her daughter’s beauty, because she knew she could no longer attain the beauty that she once possessed. She often scolded her daughter for admiring her own beauty in order to make herself feel more secure inside. Connie did not try in the least bit to make her mother’s struggle any easier, but instead gawked at her own beauty directly in front of her mother, and often compared her own beauty to others.
Wolf, Naomi. The Beauty Myth. How Images of Beauty are Used Against Women. New York: William Morrow, 1991.
Both the protagonists, Jane and Mrs De Winter in Rebecca are characterised as naïve females who have encountered traumatic and demoralising events in their early years. Through the subsequence events of the plot, these females undertake a bildungsroman journey to adjust to high class society. The heroine in Rebecca has been constantly haunted by the ghost and ‘femme fatale’ figure of Maximillian’s deceased wife (Rebecca) and is unable to live up to society’s expectations. In contrast, Jane can appear to be left demoralised by her extended family, her Aunt and cousins, where she was abused, from a very young age, for standing up for herself. However, her punishment can be seen as a blessing because the time spent in the ‘red-room’ was the
Throughout time women have been written as the lesser sex, weaker, secondary characters. They are portrayed as dumb, stupid, and nothing more than their fading beauty. They are written as if they need to be saved or helped because they cannot help themselves. Women, such as Daisy Buchanan who believes all a woman can be is a “beautiful little fool”, Mrs Mallard who quite died when she lost her freedom from her husband, Eliza Perkins who rights the main character a woman who is a mental health patient who happens to be a woman being locked up by her husband, and then Carlos Andres Gomez who recognizes the sexism problem and wants to change it. Women in The Great Gatsby, “The Story of an Hour,” “The Yellow Wall Paper” and the poem “When” are oppressed because the fundamental concept of equality that America is based on undermines gender equality.
The gothic romance and mystery of Daphne du Maurier’s Rebecca show the style in which a deep, dark secret is held at the beautiful Manderley, and a young love is influenced by the haunting of Manderley’s former mistress. Using the harrowing style of suspense, Daphne tells a tale of a young woman trying to live a life in the home of someone who has not quite left yet. With extraordinary scenery, strong symbolism, and plenty of hidden irony, Daphne du Maurier has made an everlasting psychological thriller.
In his narrative poem, Frost starts a tense conversation between the man and the wife whose first child had died recently. Not only is there dissonance between the couple,but also a major communication conflict between the husband and the wife. As the poem opens, the wife is standing at the top of a staircase looking at her child’s grave through the window. Her husband is at the bottom of the stairs (“He saw her from the bottom of the stairs” l.1), and he does not understand what she is looking at or why she has suddenly become so distressed. The wife resents her husband’s obliviousness and attempts to leave the house. The husband begs her to stay and talk to him about what she feels. Husband does not understand why the wife is angry with him for manifesting his grief in a different way. Inconsolable, the wife lashes out at him, convinced of his indifference toward their dead child. The husband accepts her anger, but the separation between them remains. The wife leaves the house as husband angrily threatens to drag her back by force.
In the book, Rebecca by Daphne Du Maurier, there exist a big emphasis on social class and position during the time of this story. When we are introduced to the main character of the story, the narrator, we are right away exposed to a society in which different privileges are bestowed upon various groups. Social place, along with the ever present factor of power and money are evident throughout the story to show how lower to middle class groups were treated and mislead by people on a higher level in society. When we are introduced to the narrator, we are told that she is traveling with an old American woman; vulgar, gossipy, and wealthy, Mrs. Van Hopper travels across Europe, but her travels are lonely and require an employee that gives her warm company. This simple companion (the narrator) is shy and self-conscious, and comes from a lower-middle class background which sets up perfect for a rich man to sweep her off her feet. The narrator faced difficulties adapting to first, the Monte Carlo aristocratic environment, and second, to her new found position as Mrs. De Winter, the new found mistress of Manderley.
de Winter's insecurity lies at the heart of the novel. It is vital the narrator should have a shy, introspective nature, other wise she would not be intimidated and awed by this dead Rebecca"( Towend 3). If the narrator had put her foot down a few time with simple thing like asking for to break the schedule and light the fire place in a room when she feels cold, or arrange the flower in the morning room the way she wants to instead of following tradition and being overly worried of pleasing everyone else but herself then she would truly fell like her own person. Something she hadn't realized until after Maxim had revealed Rebecca had no place in his heart, but he loved the Narrator. Those words gave her confidence and maturity. Even though she was staid humble, kind, and sincere, she gained the strength of confidence and finally broke Rebecca's chain. She began making changes in the menu to her liking and stud her ground against Ms. Danvers. "I was not changed. But something new had come upon me that had not been before. My heart, for all its anxiety and doubt, was light and free. I knew then that I was no longer afraid of Rebecca...She could not hurt me."(Maurier 284-285). However sometimes our dreams and responsibilities come with a high
“Last night I dreamt I went to Manderley again,”—this is the famous and evocative opening line from Daphne du Maurier’s Rebecca, often considered the first gothic romance novel of the 20th century and one of Britain’s most beloved fictional literary works. Du Maurier, who was an active writer from 1931 until her death in 1989, came from a prominent, creative, and well-to-do British family and published several novels, short stories, biographies, and plays over her lifetime. One of the great shapers of British popular culture, du Maurier is renowned for her application of realistic psychological suspense, dark and often macabre plot lines, and bold writing style. Her unique writing style was influenced by genres such as mystery, Gothicism,
...e ability to achieve anything in life. Hopefully, readers would learn from this novel that beauty is not the most important aspect in life. Society today emphasizes the beauty of one's outer facade. The external appearance of a person is the first thing that is noticed. People should look for a person's inner beauty and love the person for the beauty inside. Beauty, a powerful aspect of life, can draw attention but at the same time it can hide things that one does not want disclosed. Beauty can be used in a variety of ways to affect one's status in culture, politics, and society. Beauty most certainly should not be used to excuse punishment for bad deeds. Beauty is associated with goodness, but that it is not always the case. This story describes how the external attractiveness of a person can influence people's behavior and can corrupt their inner beauty.