Romance and sexuality are not foreign concepts to the typical Victorian sensation novel. Inverting and deconstructing these themes, however, marks a more sophisticated sensation novel and makes for a more enduring literary work. This technique is intriguing to a postmodern audience, but to a Victorian audience such an idea may have been seen as threatening and dangerous. In Lady Audley's Secret, Mary Elizbaeth Braddon skillfully criticizes conventional views of marriage, heterosexuality, and gender roles, all while veiling the contradictions in seemingly traditional views. These contradictions primarily serve to demonstrate the power of women; their roles are hidden, but they are still active under the guise of normative society and gender restrictions. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Braddon clearly illustrates the plight of women and their need to find alternative ways to exert control over their lives (and sometimes the lives of others). For example, Clara Talboys must listen to evidence about her brother's death, while simultaneously remaining composed and emotionless so as not to be scolded by her father, as she once was for simply dropping a spool of cotton. As he listens to Robert Audley's story, he "never once lifts his face from his clasped hands...his attitude never changes" (Braddon 216). Robert perceives her as cruel and heartless, but in reality she is only very limited. Although Clara remains one of the most passive female characters, faithful to the stereotype of the female role, it is noteworthy how often Robert comments on her physical similarities with her brother George, thus effectively reversing gender roles and blurring the relationship between genders. and passivity. Lady Audley is considered the most powerful and compelling female presence in the novel, and it is not difficult to draw comparisons between her betrayal and her need to improve her situation. Lady Audley even warns Sir Michael when she tearfully proposes, "You ask too much of me! Remember what my life has been; remember only that. Since my childhood I have never seen anything but poverty... I have been selfish." from my childhood" (52). Lady Audley begins her quest for power by using her beauty and charm to enhance her status, but when her status is threatened she must resort to desperate (and illegal) measures. Lady Audley respects the original pattern of using acceptable feminine means to take control of her life, but her actions only become despicable when she approaches matters in a more aggressive or masculine manner Lady Audley's exile and subsequent death can therefore be seen as a punishment for prosecuting power in an overt and transgressive (and masculine) way, rather than in a covert (and appropriately feminine) way. Robert Audley also plays a role in the emancipation of women in the novel, as he is very often described as somewhat feminine. For example , "pushes his hands through the thick luxuriance of his straight brown hair and lifts the dark mass in desperation." blue silk tied loosely around the neck" (71). He dislikes hunting "and [keeps] a very respectful distance from tough riders; his horse knew quite as well as he did, that nothing was further from his thoughts than any desire to be present at the moment of death" (72 ). And although Robert appreciates his cousin, Alicia, for her beauty and her affection for him, "the idea of ​​taking advantage of the childish sympathy ofhis cousin for him never enters his idle brain" (72). Indeed, Alicia pursues Robert much as a man pursues a woman. Furthermore, Robert also displays what appears to be a sexual and homoerotic love for George. The two friends they live together until the moment George disappears. The rest of the novel focuses on Robert's obsession with George's disappearance: it is clear that Robert "seems to have lost all taste for company, all sympathy for the pleasures and occupations of his class, since the disappearance of George Talboys" (232). For example, Robert says, "it's comfortable, but it seems so damn lonely tonight. If poor George were sitting in front of me, or - or even George's sister - was a lot like him - existence might be a little more bearable. "(230). The feminization of Robert's character, in addition to his hypothetical homoerotic love for George, creates an interesting dynamic between the feminine means of gaining power and the aggressive, masculine ways in which he is entitled to pursue control by virtue of his gender For example, Robert is allowed to aggressively investigate George's death, but often expresses a seemingly feminine desire for Lady Audley to simply flee the country so that he can avoid the confrontation and pain that will be associated with his aggressive pursuit. and masculine. Regarding the novel as a feminist statement, it is interesting to note that Braddon feminizes the main character before granting him power. At times, the author barely conceals her message. The frequent interjections of outbursts describing women as “the stronger sex, the louder, the more pervasive” (229) seem so out of character for Robert and so in tune with the author's message that one can see the passages as narrative reflections on female power. . For example, Robert says, "if they cannot make mountains of wars and play ball with hemispheres, they will make mountains of wars and irritations out of domestic molehills; and social storms in domestic teacups" (229). This statement perfectly describes the plight of women: unable to openly find power in the world, they must resort to the means and environments they can control: the social and domestic spheres. Furthermore, it seems reductive to say that "a beautiful woman is never more beautiful than when she prepares tea", but "at the tea table she reigns omnipotent, unapproachable. What do men know about this mysterious drink?" (242-3). It can also be said that the power of tea, like that of women, lies in its domesticity and the mystery inherent in men. Interestingly, Braddon completely discredits the institution of marriage and consequently empowers women. The purest example of love is seen in a homosexual (and therefore non-marital) context, while the novel's main marriage – that between Lady and Sir Michael Audley – is the most imperfect and deceptive relationship of all. Sir Michael even prophesies his sad fate when he says, "nothing but misery can come from a marriage dictated by any motive except truth and love" (51). Robert also complains, saying, "Look at the weddings! Who can say what will be the one judicious choice among the nine hundred and ninety-nine mistakes? Who will decide from the first look of the slimy creature, which will be the one eels out of the colossal sack of snakes?" (225) The negatively charged tone – not to mention the pessimistic message itself – certainly reflects the author's view of marriage. One can also wonder if Clara only agreed to marry Robert in an effort to aid her brother's search, which would be an effective way to use her limited power to her advantage. This argument, of course, is not without contradictions. The conclusion of, 2003.