Romance and sexuality are not foreign concepts to the typical Victorian sensation novel. Reversing and deconstructing these themes, however, marks a more sophisticated sensation novel and results in a more enduring work of literature. This technique intrigued a postmodern audience, but to a Victorian audience such an idea might have been considered threatening and dangerous. In Lady Audley's Secret, Mary Elizbaeth Braddon deftly critiques conventional views of marriage, heterosexuality, and gender roles, while veiling the contradictions of seemingly traditional views. These contradictions serve above all to demonstrate the power of women; their roles are hidden, but they are nevertheless active under the cover of a normative society and gender restrictions. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay Braddon clearly lays out the plight of women and their need to find alternative ways to exert control over their lives (and sometimes on that of others). ). For example, Clara Talboys must listen to the evidence of her brother's death, while remaining calm and impassive, lest she be reprimanded by her father, as she once was simply for dropping a reel of cotton. Listening to Robert Audley's story, she "never lifts her face from her clasped hands...her attitude never changes" (Braddon 216). Robert perceives her as cruel and heartless, but in reality she is only very restrained. Although Clara remains one of the more passive female characters, true to the stereotypical female role, it is worth noting how often Robert comments on her physical similarities to her brother George, effectively reversing gender roles and blurring the relationship between gender and passivity. Lady Audley presents herself as 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 he tearfully proposes: “You're asking too much of me!” Remember what my life has been like; just remember that. Since my childhood, I have never seen anything other than poverty... I have been selfish. since my childhood” (52). Lady Audley begins her quest for power by using her beauty and charm to improve her status, but when her status is threatened, she must resort to desperate (and illegal) measures. Lady Audley conforms to the original pattern of using acceptable feminine means to gain control of her life, but her actions only become despicable when she approaches things in a more aggressive or masculine manner. Lady Audley's banishment and subsequent death can therefore be seen as punishment for seeking power in an overt and transgressive (and masculine) way, rather than in a covert (and suitably feminine) way. Robert Audley even plays a role in female empowerment in the novel, as he is quite often described as somewhat feminine. For example, he "runs his hands through the thick lushness of his straight brown hair and lifts the dark mass in despair." (229). He also “walks through the Temple gardens…with the collar of his shirt pulled down and a blue silk handkerchief tied loosely around his neck” (71). He does not like hunting “and keeps a very respectful distance from harsh riders, his horse knowing full well as he does that nothing was further from his thoughts than any desire to be present at death” (72 ). And although Robert appreciates his cousin, Alicia, for her beauty and her affection for him, "the idea of ​​taking advantagehis cousin’s maiden love for him never enters his idle brain” (72). In fact, Alicia pursues Robert the same way a man pursues a woman. Additionally, Robert also displays what appears to be a sexual and homoerotic love for George. The two friends live together until 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 companionship, all sympathy for the pleasures and pursuits of his class, since the disappearance of George Talboys » (232). For example, says Robert, "it's comfortable, but it seems so lonely tonight. If poor George were sitting across from me, or - or even George's sister - she looks 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 ways of acquiring power and the aggressive, masculine ways in which he is allowed to exercise control by virtue of his sex. For example, Robert is allowed to aggressively investigate George's death, but he often expresses a seemingly feminine desire for Lady Audley to simply flee the country in order to avoid the confrontation and injury that will be associated with her aggressive pursuit and masculine. Regarding the novel as a feminist statement, it is interesting to note that Braddon feminizes the main character before granting her power. Sometimes the author barely hides his message. The frequent interjections of diatribes describing women as "the stronger, louder, more intrusive sex" (229) seem so out of place for Robert and so in tune with the author's message that one can see these passages as narrative reflections on feminine power. . For example, says Robert, “if they cannot make mountains of war and play ball with hemispheres, they will make mountains of war and vexation out of domestic molehills; and social storms in domestic teacups” (229). This statement perfectly describes the plight of women: unable to openly access power in the world, they must resort to the means and environments they can control – the social and domestic spheres. Furthermore, it seems demeaning to say that "a pretty woman is never prettier than when she is making tea", but "at the tea table she reigns omnipotent, inaccessible. 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 domestic character and in its mystery inherent in men. Interestingly, Braddon totally discredits the institution of marriage and, therefore, empowers women. The purest example of love is seen in a homosexual (and therefore non-marital) context, while the novel's main marriage – that of Lady and Sir Michael Audley – is the most flawed and deceptive relationship of all . Sir Michael even prophesies his own dismal fate when he says, “nothing but misery can result from a marriage dictated by any other motive than truth and love” (51). Even Robert laments, saying, “Look at the weddings!” Who can say which will be the only wise choice among the nine hundred and ninety-nine errors? Who will decide, from the first aspect of the slimy creature, which one will be the only one to choose. eel from the colossal bag of snakes? (225) The negatively charged vocabulary – not to mention the pessimistic message itself – certainly reflects the author's view of marriage. We can even wonder if Clara only agreed to marry Robert in order to, 2003.