Mantex

Tutorials, Study Guides & More

  • HOME
  • REVIEWS
  • TUTORIALS
  • HOW-TO
  • CONTACT
>> Home / Tutorials / 19C Authors / Mary Elizabeth Braddon

Mary Elizabeth Braddon

Mary Elizabeth Braddon – tutorials and study guides on the novels, with web links and suggestions for further reading

tutorials, study guides, web links and commentary

Aurora Floyd

August 31, 2016 by Roy Johnson

tutorial, study resources, plot summary, further reading

Aurora Floyd (1868) was the second of Mary Elizabeth Braddon’s ‘sensation’ novels. It followed hard on the heels of her first major success, Lady Audley’s Secret (1867) with which it has a lot in common. Braddon became the doyenne of this new genre that combined stories of polite English society with elements of crime, mystery, blackmail, and even murder. Her work was published in newspapers, magazines, and most importantly in the circulating libraries such as Mudie’s. Braddon had been an actress before she took up writing, and her novels are full of dramatic incidents and well-organised, complex plots. She was an astonishingly prolific writer, with a total output of more than eighty novels.

Aurora Floyd


Aurora Floyd – a note on the text

The novel first appeared as a serial in thirteen parts in the monthly magazine Temple Bar from January 1862 to January 1863. The publishers, Tinsley Brothers, paid Braddon £1,000 (almost £100,00 today) for two years exclusive rights. The novel went through five editions in its first year. Its initial appearance as a single volume edition was at the end of 1863. No manuscript of the novel has survived, though Braddon made substantial changes (and deletions) to the original. For a full bibliographic account of the text, see P.D. Edwards’ note in the Oxford World’s Classics edition of the novel.


Aurora Floyd – critical commentary

The sensation novel

It was Wilkie Collins who is credited as the originator of the sensation novel, with the publication of The Woman in White in 1859. But Braddon adopted its features with relish and made them her hallmark. The sensation novel. sometimes described as ‘the novel with a secret’, pushed the limits of anti-social behaviour as far as they were allowed to be expressed in the mid-Victorian age.

The plots of these novels included mysterious identities, crime, blackmail, forged wills, secret marriages, illegitimacy, melodramatic revelations, madness, and incarceration. These were elements inherited from the Gothic romances of the late eighteenth century – but events were taken away from haunted castles in the Apennines and transposed to settings in polite English society.

Mystery

The mystery that drives the first two thirds of the novel is the ‘missing’ twelve moths in Aurora’s life after she leaves the finishing school in Paris. We do not know why she left the school, and she refuses to give an account of what happened to her. There is also a secondary mystery in her father’s distress, which is similarly unexplained. To these ingredients is then added the second major puzzle – how and why does the former jockey James Conyers have any hold over her?

Blackmail

Conyers exhorts a diamond bracelet from Aurora, and then a bribe of two thousand pounds to leave the country – but the secret of their marriage is withheld as long as possible in the narrative. After it is revealed, the element of the two thousand pounds is transposed into yet another staple feature of a sensation novel – the murder.

Murder

The murder in the plot serves two functions. It produces the violence and disruption threatening the peace and security of rather complacent upper class life. Braddon makes quite clear that John Mellish feels existentially threatened by the mere proximity of social disruption to his privileged and well-ordered estate.

He sat down to-night, and looked hopelessly round the pleasant chamber, wondering whether Aurora and he would ever be happy again: wondering if this dark, mysterious, storm-threatening cloud would ever pass from the horizon of of his life, and leave the future bright and clear.

The murder also introduces yet another element of ‘whodunnit’ mystery, since we do not know (at first) who shot the bullet that kills James Conyers. However, readers with ‘Chekhov’s gun’ theory in mind will know the identity of the culprit in advance of its being revealed.

This theory is a dramatic principle established by the Russian dramatist and short story writer Anton Chekhov – that everything in a narrative should be necessary and anything unnecessary should be removed.

If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.

We know that Stephen Hargraves stole a pistol from Archibald Floyd’s house – so, despite the circumstantial evidence of a connection between Aurora and Conyers at the murder scene that can throw suspicion onto her, we know Hargraves is likely to be the assailant.

Social pedigree

Eliza (and hence Aurora) comes from an indeterminate lower class. Eliza was an actress and her brother Samuel was abandoned as a child to become a cabin boy. This is counterposed with the snobbish Bulstrode who comes from the aristocracy and will not marry the woman he loves because she will not reveal a twelve month gap in her social history. He (rightly) fears that this might be a potentially damaging stain on the reputation of his family. Even though he later regrets that decision and assists her in defending her name, his caution is justified by the scandal that ensues in the narrative.

Bigamy

Until the later part of the twentieth century, bigamy was considered a serious crime. that had originally been punishable by prolonged imprisonment and even execution. Yet strangely enough, female bigamists were treated more leniently, because of their perceived lack of ‘moral agency’.

The issue that provides the plot of Aurora Floyd is the power that Conyers holds over Aurora because they are still married. He exploits this power by blackmailing her – and he nurtures the outside hope that when her wealthy father dies, he will ‘inherit’ all the money left to her. Until the Married Woman’s Property Act of 1882 a woman’s personal property automatically went to her husband – and she ceased to exist as a legal identity.

Aurora believes that her first husband James Conyers has been killed in a riding accident, but in fact he is only injured. Consequently, she becomes guilty of bigamy when she marries John Mellish – and Mellish is not only guilty himself, but he takes on ‘responsibility’ for his wife’s guilt as well.

There is a possibility that the element of bigamy is acting as a surrogate for sexuality in the novel. Adultery or sex out of wedlock would not have been acceptable as a literary subject at that time. But bigamy by ‘accident’ or through mistaken identity would pass the censorship ‘guidelines’ imposed by the circulating libraries, which were notorious for their prudishness.

Aurora as a spirited young girl is seduced by a handsome lower-class groom with dark hair, long eyelashes, and god-like looks. There is no mention of any sexual intimacy between them, but they are united by their interest in horses. Most commentary on the novel and its kind emphasises the fact that ‘horsey’ heroines were equated with ‘fast’ women who enjoyed the spice of danger and overt eroticism in their lives.

Moreover, having married once and believing her husband to be dead, Aurora has very little hesitation in marrying again. The gauche and good-hearted John Mellish is hardly an erotically charged figure at all, but by her early twenties Aurora has had two husbands and (statistically therefore) a considerable amount of sexual experience.

Marriage

Interestingly enough, in a novel whose central mystery and plot device is bigamy, Braddon seems to incorporate a great deal of direct and indirect comment on the subject of conventional ‘love and marriage’.

The aristocratic Bulstrode falls passionately in love with Aurora – almost at first sight. His snobbish notions of family pride prevent him from accepting her as a wife, and so he chooses Lucy instead. She is presented (and behaves) in a far less exciting manner, and yet their union is successful and happy.

Similarly, Mellish is presented as a bumbling and gauche countryman who Aurora accepts as a second-best choice to Bulstrode. Yet they too eventually establish a loving and trustful relationship from which passion seems to have been excluded.

It’s as if Braddon is presenting the case that passionate love is not necessarily a good recipe for a successful marriage, whereas concern, respect, and admiration are more likely to lead to happiness.


Aurora Floyd – study resources

Aurora Floyd Aurora Floyd – Oxford Classics – Amazon UK

Aurora Floyd Aurora Floyd – Oxford Classics – Amazon US

Aurora Floyd Aurora Floyd – Immortal Classics – Amazon UK

Aurora Floyd Aurora Floyd – Immortal Classics – Amazon US

Aurora Floyd Aurora Floyd – Kindle eBook – Amazon UK

Aurora Floyd Aurora Floyd – Kindle eBook – Amazon US

Aurora Floyd The Complete Works of Mary Elizabeth Braddon – Kindle eBook


Aurora Floyd – chapter summaries

I.   Archibald Floyd, a retired city banker, suddenly marries Eliza Prodder, a young and beautiful actress he meets in Lancashire. Polite society regards her as an upstart, but she is proud and devoted to her husband. However, after only one year of marriage she dies.

II.   The widower Floyd devotes all his attention to his daughter Aurora, who grows up to become a spirited and attractive young woman. He sends her to a Parisian finishing school, from which she returns just over a year later in a poor physical condition.

III.   Aurora has bad feelings about her time in Paris. She meets a man to whom she owes money. He father throws a ball to celebrate her nineteenth birthday, where she meets the proud Talbot Bulstrode.

IV.   Bulstrode is conscious of being remote and unloved. He thinks Lucy Floyd would make a suitable wife, but he is intrigued by Aurora, whose mysterious behavior he attributes to horse-racing gambling debts.

V.   Floyd employs the very unsympathetic Mrs Powell as governess to Aurora. They go to stay in Brighton, where Bulstrode has bought himself out of the army. Lucy is anguished because she loves Bulstrode, who is besotted with Aurora. They are joined by Bulstrode’s gauche Yorkshire friend John Mellish.

VI.   Bulstrode proposes to Aurora, but she rejects his offer (as she has just rejected an offer from Mellish). But then she accepts the offer next day – after reading of the death of an English jockey in Germany..

VII.   Preparations are under way for the marriage, but then out on a drive they meet Matthew Harrison, who demands money from Aurora. Bulstrode asks how she comes to know him – but she refuses to divulge the information.

VIII.   John Mellish returns from exile in Paris and accuses Bulstrode of ‘treachery’. He then confides in Lucy, and realises she loves Bulstrode. Constance Trevyllian, Bulstrode’s cousin, returns from the Paris finishing school, much to Aurora’s consternation.

IX.   Next day (Xmas) Bulstrode receives a letter from his mother revealing that Aurora ran away from her Parisian school and was missing for the following year. When Bulstrode asks for an explanation she pleads with him for understanding, but will not reveal where she was for the twelve months. He breaks off their engagement and leaves.

X.   Aurora falls seriously ill with a fever that lasts for four months. Floyd takes his daughter to Leamington for recovery, where they are joined by John Mellish. Floyd gives Mellish his blessing to wait for a possible change in Aurora’s feelings towards him.

XI.   The Floyd party go to northern France. Aurora continues to think about Bulstrode, but Mellish pressures her emotionally and offers to marry her without knowing the secret of her ‘missing year’.

XII.   Aurora becomes engaged to Mellish and is regarded by many as rather fickle. Bulstrode enters parliament, and is angry when he reads of the marriage. Aurora goes to live at Mellish Park where she develops two enemies – Mrs Powell and Stephen Hargraves, the repugnant groom, who is fired for mistreating her dog.

XIII.   John Mellish allows Aurora to dominate him, and Lucy is dismayed that her cousin can forget Bulstrode so easily. The Floyd party visit York races where they meet Bulstrode, who still feels bitter regarding Aurora.

XIV.   Bulstrode is invited to stay at Mellish Park, where he meets Lucy Floyd and realises that she is in love with him. He proposes to her and they are married shortly afterwards.

XV.   Aurora sees Stephen Hargraves lurking in the woods at Mellish Park. A letter arrives recommending the horse trainer James Conyers. Aurora faints at the mention of his name.

XVI.   Mellish questions his wife, who will only reveal that Conyers knows her secret. Mrs Powell is peeved on being excluded. The adventurer Conyers arrives at Mellish Park as trainer. Mrs Powell spies on him opening his letters – one of which is from Aurora.

XVII.   The unscrupulous rogue Conyers hires Stephen Hargraves as his servant. He forces him to deliver a letter to Aurora, who angrily assents to its contents.

XVIII.   Mellish decides to trust his wife, despite her enigmatic behaviour. Aurora goes to see Conyers at night, followed by Mrs Powell, who eavesdrops with Stephen Hargraves whilst Aurora tries to buy off Conyers. On return Mrs Powell locks Aurora out of the house in the rain, which alarms Mellish.

XIX.   Archibald Floyd is lonely without his daughter Aurora. He is entertaining Bulstrode and Lucy when Aurora and Mellish arrive to discuss ‘money matters’. Aurora asks her father for two thousand pounds, refusing to tell him what it is for. He gives her the money, making a record of the banknote numbers.

XX.   Captain Samuel Prodder arrives from Liverpool at Felden Woods where he is warmly welcomed by Mr Floyd. He has come in search of his sister Eliza, but learning of her death would like to see his niece Aurora.

XXI.   Conyers neglects his duties and abuses Hargraves. When Conyers arrives home drunk one night, Hargraves finds a paper in his clothes confirming that the two thousand pounds ‘agreement’ with Aurora is for him to quit England.

XXII.   Hargraves steals Mellish’s pistol at the house. Aurora arranges a meeting with Conyers. Mrs Powell snoops on all concerned.

XXIII.   The Mellishes have boring guests to dinner, but Aurora manages to leave the house to keep her late night appointment with Conyers.

XXIV.   During dinner Captain Prodder arrives at the house, but is turned away. He walks through the grounds and overhears Aurora rebuking Conyers. There is a pistol shot. Prodder reports back to the house that there has been a murder.

XXV.   Mellish and Prodder go out, recover Conyers’ body, and take it back to the Lodge. Hargraves is in bed and pleads innocence. A policeman discovers the message sewn into Conyers’ waistcoat. Prodder suddenly disappears. Mellish realises Aurora might be a suspect, and Mrs Powell refers to her being close to the scene. Aurora reveals that Conyers was formerly in her father’s employment. Mellish feels shattered by the onset of unhappiness and thinks he has not been socially virtuous enough.

XXVI.   The inquest is inconclusive and returns a verdict of ‘murder by person(s) unknown’.

XXVII.   However, Mellish is recalled by the coroner, who produces the blood-stained marriage certificate between Conyers and Aurora.

XXVIII.   Hargraves tells Aurora that the marriage certificate has been found. She feels ashamed of having deceived Mellish, and she runs away – intending to consult Bulstrode.

XXIX.   Mellish returns home, forgiving Aurora for her youthful indiscretion. Discovering that she has left, he prepares to follow her – but first he dismisses Mrs Powell.

XXX.   Aurora visits Bulstrode for his advice. She recounts the history of her youthful marriage to Conyers, his blackmailing, and his recent death. Lucy comforts her.

XXXI.   Next day Bulstrode meets Mellish, who is then reunited with Aurora. Bulstrode advises Mellish to re-marry Aurora as soon as possible.

XXXII.   The Mellishes visit Archibald Floyd, where Aurora confesses the truth to her father, who wonders where his two thousand pounds are. They return to London and are re-married – although they are being followed by two strange men.

XXXIII.   Samuel Prodder buys himself a new suit and returns to Doncaster where he overhears Stephen Hargraves implicating Aurora in the murder via mixture of circumstantial evidence and half truths. Prodder attacks him in outrage, but Hargraves produces Aurora’s note to Conyers to support his claims.

XXXIV.   The Mellishes return home, but Aurora feels the effects of the murder hanging in the air. The servants are suspicious of her sudden unexplained flight. Mellish’s pistol is found in the grounds.

XXXV.   The Bulstrodes arrive and realise that something is wrong. Aurora lies to Lucy, claiming John no longer loves her. Bulstrode badgers Mellish into revealing the truth – that suspicion points to Aurora. They meet detective Joseph Grimstone who reveals the existence of two letters accusing Aurora – both written by Mrs Powell.

XXXVI.   Bulstrode persuades Mellish to reveal what he knows, then relays this information to Grimstone, who has found a brass button at the crime scene.

XXXVII.   Grimstone locates the origin of the brass button on a pawn shop waistcoat, then traces the garment as a gift from the gardener to Hargraves.

XXXVIII.   Grimstone inspects Hargraves’ room in his absence but finds nothing, then he discovers that his assistant Chivers has lost track of Hargraves whilst stalking him.

XXXIX.   Mellish and Bulstrode wait impatiently at the house for news. Bulstrode visits Grimstone in Doncaster but there is nothing new to report. However, on his way back to Mellish Park he spots Hargraves in the Lodge. Hargraves attacks him, but Bulstrode is rescued by the sudden arrival of Prodder. The waistcoat and the money are recovered. Hargraves is hanged at York assizes, Mellish and Aurora travel to the south of France, where a baby is born and they are joined by Bulstrode and Lucy.


Aurora Floyd – principal characters
Archibald Martin Floyd a rich and retired city banker
Falden Woods his estate in Kent
Eliza Prodder a beautiful but poor actress, Aurora’s mother
Aurora Floyd a strong-willed and attractive young woman
Lucy Floyd Aurora’s friend and cousin
Talbot Bulstrode the proud intellectual son of an ancient family
John Mellish a rich, generous, but gauche Yorkshireman
Mrs Walter Powell Aurora’s unsympathetic governess
Steeve Hargraves a repugnant groom at Mellish Park
Joseph Grimstone a Scotland Yard detective
James Conyers a horse trainer, rogue, and adventurer

Aurora Floyd – further reading

Richard D. Altick Victorian Studies in Scarlet, New York: W.W. Norton, 1979.

Jennifer Carnell, The Literary Lives of Mary Elizabeth Braddon: A Study of Her Life and Work, UK: Sensation Press, 2000.

Ann Cvetkovich, Mixed Feelings: Feminism, Mass Culture, and Victorian Sensationalism, New Jersey: Rutgers University Press, 1992.

P.D. Edwards, Some Mid-Victorian Thrillers: The Sensation Novel, Its Friends and Its Foes, Queensland: University of Queensland Press, 1971.

Winifred Hughes, The Maniac in the Cellar: Sensation Novels of the 1860s, Princeton: Princeton University Press, 2014.

Lyn Pykett, The ‘Improper’ Feminine: The Woman’s Sensation Novel and the New Woman Writing, London: Routledge, 2013.

Anthea Trodd, Domestic Crime in the Victorian Novel, London: Palgrave-Macmillan, 1988.

Robert Lee Wolff, Sensational Victorian: The Life and Fiction of Mary Elizabeth Braddon, New York: Garland Publishers, 1979.

© Roy Johnson 2016


More on literature
More on the novella
More on literary studies
More on short stories


Filed Under: Mary Elizabeth Braddon Tagged With: English literature, Literary studies, Mary Elizabeth Braddon, The novel

Lady Audley’s Secret

July 31, 2016 by Roy Johnson

tutorial, study resources, and chapter summaries

Lady Audley’s Secret was one of the best-selling novels of the nineteenth century – outselling even Dickens, Wilkie Collins, and other popular writers of the period. It belongs to a literary genre known as the ‘sensation novel’ which preceded (and overlapped with) the vogue for Gothic horror stories that became popular later in the century.

Lady Audley's Secret - a tutorial

Indeed Braddon produced her own version of a vampire novel The Good Lady Ducayne in 1896 – which was her sixty-ninth novel. She was known as the ‘queen of the circulating libraries’ because of her enormous productivity and her ability to supply the popular demand for dramatic fiction. She is now mainly remembered for this one novel – and it has to be said that whatever its shortcomings, it is a novel which once read, will not easily be forgotten.


Lady Audley’s Secret – a note on the text

Lady Audley’s Secret first appeared. as weekly instalments in the magazine Robin Goodfellow, running from July to Septermber 1861. It was then serialized as monthly instalments in the Sixpenny Magazine between January and December 1862. The first three-volume book edition was published by Tinsley Brothers in October 1862. Elizabeth Braddon made substantial additions (and some deletions) as the novel passed through new editions. For a detailed account of these changes see the Oxford University World’s Classics edition.

This publishing history emphasises Braddon’s completely professional approach to writing novels as a career and a source of income. Each of these commercial formats (magazines and books) were aimed at slightly different readers, and she maximised her financial success by exploiting both popular and intellectual readerships. Braddon made a lot of money from the sales of this one novel – enough for her to remain financially independent for the rest of her life. Her publisher William Tinsley also made enough to build a villa on the Thames at Barnes, which he called very appropriately ‘Audley Lodge’.


Lady Audley’s Secret – critical commentary

This murder-mystery novel was very successful when it first appeared, and Lady Audley’s Secret remains an excellent example of its kind – to remind us that the serialized narrative with multiple plot lines was a staple of the Victorian circulating libraries – and that it remains a strand of popular culture today in its contemporary forms of the soap opera and the multi-part television series.

Despite its suspense, mystery, multiple plot lines, and the intriguing relationships of its characters, Lady Audley’s Secret is founded upon a rather weak proposition. The novel is based on the idea that a rich aristocrat would marry an unknown person without making any enquiry into her family background or social provenance. Sir Michael Audley is a peer of the realm, and no matter how he might be enchanted by a pretty face and golden curls, it is almost unthinkable that such a man would marry someone who came from what turns out to be a dubious background. She has a father who is a drunk and a mother who is mad, and she herself is already married.

This would be statistically unlikely, since the aristocracy traditionally guarded its priviledges and power largely on the basis of inherited wealth and would not wish to dilute any of that power by marriage and association with a lower class. However, it has to be said that Lady Audley’s Secret is based upon the real life scandal and mystery of 1860 in which Constance Kent was convicted of murder based on the fact that her father had married a second time

Braddon also takes some liberties with the presentation of her anti-heroine Lady Audley – whose real name is initially Helen Maldon. She then becomes Helen Talboys on her marriage to George Talboys, and finally adopts the name Lucy Graham before marrying Sir Michael Audley. She is also given the fictitious name of Mrs Taylor when she is sent into the Belgian ‘madhouse’. The liberty Braddon takes is primarily that she presents Lucy for the first two thirds of the novel as an unblemished beauty with no social baggage or moral weak points – though she does betray some unexplained reservations when accepting Sir Michael’s proposal of marriage.

We are given clues that all might not be as it seems in the first two volumes of the novel. Her former maid Phoebe Marks obviously has compromising information about her in the form of the child’s slipper and lock of hair. Later in the novel, Robert Audley and George Talboys see a portrait which reveals something sinister beneath her attractive outward appearance.

Most of the narrative is relayed from Robert Audley’s point of view, as he tries to solve the problem of the sudden disappearance of his friend George Talboys. But then at the end of Volume II the point of view suddenly switches to the so-called Lucy Graham herself, as she reflects on her former ‘wickedness’ – without at this stage revealing specifically what she has done. She is suddenly presented as a scheming and ruthless woman. This rather gives the game away (unnecessarily) and reveals that Robert’s suspicions are well founded – though the clinching fact of George Talboy’s fate is still witheld.

Robert Audley also gives up on his search for George Talboys in the last Volume of the novel. Since this had been the main focus of his efforts in the first two volumes, it becomes clear that Braddon is merely dragging out the revelation of Lady Audley’s murderous attack until the final chapters. The fact that George’s ‘death’ is mentioned so often also arouses suspicions in the attentive reader that he will in the end still be alive – which turns out to be the case. His barely credible account of escaping from the bottom of the well is delayed until the final pages of the novel This is giving precedence to suspense over narrative logic – which is one of the factors that makes the novel a second rather than a first rate classic.

The sensation novel

In the middle of the nineteenth century there was a vogue for what was called the ‘sensation novel’. This was a variation of the Gothic horror story and normally featured plot elements of murder, disguise, bigamy, madness, blackmail, fraud, theft, kidnapping, incarceration, or disputed wills. Mary Elizabeth Braddon distinguishes herself by including several of these elements in one novel.

Lady Audley’s Secret is all the more effective because it appears to start out as a conventional novel of polite society. A rich widowed landowner with a country estate marries a beautiful young woman who is popular with everyone in his circle. Some members of his family become involved in amorous relationships and vaguely mysterious searches for information. The novel could in its early stages be a production out of the Jane Austen, Charlotte Bronte, or George Eliot tradition.

But as the story unfolds it gets darker and darker in tone. First, suspicion falls on Lady Audley herself. How could such an attractive and popular young woman be involved in issues of duplicity, disappearance, and identity theft? The answer turns out to be even worse than the question. The literary critic Elaine Showalter summarises the plot of Lady Audley’s Secret as follows: “Braddon’s bigamous heroine deserts her child, pushes husband number one down a well, thinks about poisoning husband number two and sets fire to a hotel in which her other male acquaintances are residing”.

We know from the title of the novel that Lady Audley has a secret, but at first we are not sure what it is. Braddon plays fair by scattering clues throughout the narrative. Lucy has kept mementoes of what appears to be a child, and when Robert Audley begins to dig into her past life we suspect her of bigamy. But this thread of the story is overlaid with the disappearance of George Talboys. This muddies the picture for some time, and Robert Audley’s suspicion that Lady Audley has murdered George occupies the central sections of the novel. The reader appears to be dealing with a murder mystery.

But the story is more complex than that. Lady Audley in fact has multiple secrets. She is from a very poor background. She has already married George Talboys. She has then abandoned their child to the care of her drunken father. She has changed her name not once but twice – from Helen Maldon to Helen Talboys on marrying George, and then (to erase her past) to Lucy Graham – prior to marrying Sir Michael Audley to become Lady Lucy Audley.

Her other secrets, not revealed until much later in the novel, are that she tried to murder her first husband George when he re-appeared from Australia. In addition, when her wrongdoing is in danger of being exposed by Robert Audley (and her former maid Phoebe and husband Luke) she tries to kill them all of them by setting fire to the Castle Inn.

Helen Maldon-Lucy Graham is first presented as an attractive, golden-haired heroine by whom everyone is enchanted, but she turns out to be an unscrupulous psychopath. This is one very strong reason why the novel could also be considered a Gothic tale, and Lucy certainly ends up in Gothic circumstances – incarcerated in a Belgian maison de santé where she later dies, leaving the heroes and heroine of the novel to live on in bliss in their rustic fairy-tale cottage on the Thames.

It is worth noting that this element of sensationalism was still prevalent towards the end of the century in the work of writers such as Henry James and Thomas Hardy. James’s late novel The Other House (1896) is a mystery thriller involving the murder of a child, and Hardy’s The Mayor of Casterbridge (1886) involves a cast-off wife who returns unexpectedly.to cause problems for her bigamous husband. Hardy was also toying with bigamy and technically illegal sexual relationships as late as his last novel, Jude the Obscure (1895).


Lady Audley’s secret – study resources

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Oxford Classics – Amazon UK

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Oxford Classics – Amazon US

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Wordsworth Classics – Amazon UK

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Wordsworth Classics – Amazon US

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Penguin Classics – Amazon UK

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Penguin Classics – Amazon US

Lady Audley's Secret - a tutorial The Complete Works of Mary Elizabeth Braddon – Amazon UK

Lady Audley's Secret - a tutorial Mary Braddon: A Study of her Life and Work – Amazon UK


Lady Audley's Secret - a tutorial

first edition 1862


Lady Audley’s Secret – chapter summaries

Volume I

I   Rich widower Sir Michael Audley falls in love with young governess Lucy Graham. She harbours some secret reservations, but accepts his proposal of marriage.

II   George Talboys and Miss Morley compare their apprehensions on returning from Australia. She has been away eduring fifteen years of hardship, and is hoping her fiance will still want her. He has been away for three and a half years after deserting his wife and child, and after much privation has struck gold.

III   Lady Audley and her maid Phoebe Marks have returned from a European tour. Phoebe shows her cousin and lover Luke Marks around Audley Court and its lavish furnishings. They discover a baby’s shoe and some hair in a secret drawer – which Phoebe keeps.

IV   Playboy barrister Robert Audley meets fellow old Etonian George Talboys in the city. Talboys banks his money, then reads in the Times that his wife has just died.

V   Robert and George travel to Ventnor on the Isle of White where Helen Talboys has died. They confirm her identity and locate her grave.

VI   Talboys arranges the financial support for his son by his father-in-law Captain Maldon, then plans to travel to St Petersburg with Robert Audley.

VII   A year later Robert and George go to Audley village, where Lady Audley avoids meeting them. She sends Phoebe Marks to London on a secret errand. A telegram arrives calling Lucy to London, where .

VIII   George and Robert continue their visit Audley Court and inspect Lucy’s private chambers via a secret passageway. They see a portrait of her which looks rather sinister.

IX   Talboys and Lady Audley are both frightened by thunder and lightning during a storm in the night. George has dropped his glove in Lady Audley’s room.

X   Whilst George and Robert are fishing, Robert falls asleep and wakes to find George missing. He searches the estate for him, without success.

XI   Robert dines at Audley Court, where Lucy reports on her fruitless trip to London.. Robert notices bruises on Lucy’s arm, and he vows to find his friend George.

XII   Robert goes to London in search of George, then on to Southampton, where he is told that George visited his son the day before, prior to leaving for Australia.

XIII   Robert goes to Liverpool, but finds no signs of George. On returning to London he draws up a list of all essential facts surrounding the disappearance of his friend. He begins to think in legal terms.

XIV   Alicia and Lady Audley agree to disagree. Lady Audley makes an offer to help Phoebe’s fiance Luke- but he asks for more, with a veiled threat that he has information about her.

XV   Luke and Phoebe get married and take on the Castle Inn nearby. Robert Audley discusses his theories about George Talboys with Lucy, who faints as a result.

XVI   Alicia refuses an offer of marriage from a rich landowner. Robert (with whom she is in love) advises her to be patient. Robert is asked to leave by his uncle as a matter of good form: Robert takes lodgings at the Castle Inn.

XVII   Robert quizzes Phoebe and Luke. He suspects that they have compromising information about Lady Audley.

XVIII   Lady Audley visits Robert at the Castle Inn. They discuss Talboys and his disappearance. When Robert reveals he has letters written to Talboys by his wife, Lucy takes the next train to London. Robert follows her immediately.

XIX   In London he meets Lucy going back to Colchester, and wonders what she has been doing. Returning to his chambers he discovers that a locksmith has been summoned, but when he checks with the man he is told there was a mistake.

Volume II

I   Robert discovers that George’s wife’s letters are missing from his effects., but when he inspects. George’s books he finds an inscription in Helen Maldon’s handwriting which he seems to recognise.

II   Robert goes to Southhampton where young Georgey is living with his drunken grandfather, supervised by the dubious Mrs Plowson. It seems they are in someone’s pay.

III   Georgey tells Robert about ‘the pretty lady’. Robert wishes to take Georgey away and tells and tells Maldon that he thinks George Talboys is dead. Georgey turns out to have very adult tastes in food and drink.

IV   Robert visits Harcourt Talboys, George’s stern and uncompromising father in Dorset. He thinks George’s disappearance has been staged to influence him. Robert spells out his fears, but Mr Talboys refuses to believe him or to alter his attitude.

V   Clara Talboys wishes to avenge her brother’s death: she has two of her brother’s letters which she promises to send to Robert.

VI   Robert returns to London, reflecting on the changeable nature of his quest, and the fact that he has become entangled particularly by so many <em.women in the case.

VII   Sir Michael Audley is ill. Robert visits him and quizzes surgeon friend Mr Dawson, Lucy’s previous employer, who refers him to Lucy’s earlier employed Mrs Vincent.

VIII   Robert traces Mrs Vincent in London. He establishes that the telegram sent to Lucy was a lie, that Lucy’s family came from ‘the seaside’ and that she has travelled abroad. He removes an incriminating address label from her hat box.

IX   Robert travels to north Yorkshire where he discovers the history of Helen Talboys and her relationship to Lucy Graham, and her bankrupt father Captain Maldon. He wonders therefore who is buried in the grave at Ventnor.

X   Robert returns to. Audley where he hears Clara Talboys playing the organ in church. . She quizzes him about his quest for news of her missing brother, and what he knows about Lucy.

XI   Robert forces Lady Audley to listen to his evidence about the disappearance of George, most of which suggests that she is guilty. But she refuses to accept or explain the evidence and accuses Robert of being mad.

XII   Lucy reports Robert’s accusations to her husband (without giving any specific examples). Phoebe Marks arrives blackmailing Lucy for more money, and she brings a letter from Robert threatening further exposure.

Volume III

I   Lucy agrees to pay the money, but insists on doing so in person. She goes back with Phoebe in the middle of the night to the Castle Inn (where Robert is staying) and after locking him in his bedroom, sets fire to the building.

II   The next day Lucy is anxiously awaiting news of the fire to reach Audley Court – but it doesn’t. Robert Audley realises Alicia is in love with him, but he has been enchanted by Clara, George’s sister. Eventually, to Lucy’s astonishment, Robert arrives at Audley.

III   Lucy is cornered by Robert’s circumstantial evidence, and agrees to tell her true story. This includes her mother’s madness, her poverty, marrying George Talboys, their separation, farming out her son’s upbringing to her drunken father, and using Matilda to fake her own death.

IV   In order to avoid scandal, Robert asks Alicia to accompany her father in his exit from Audley Court to London and onwards. Robert telegraphs for details of a psychiatric physician.

V   Doctor Mosgrave arrives next day and listens to Robert’s account of events and of Lucy’s life, and he pronounces her not mad, but dangerous. He also spots that her account of events omits any details of George Talboys. He interviews Lucy then writes a letter of recommendation to a maison de santé in Belgium.

VI   Robert escorts Lucy to the maison fermée, where in an angry outburst she finally reveals that she murdered George Talboys and threw his body into the garden well at Audley.

VII   Robert is conflicted regarding how much of Lucy’s misdeeds he should reveal, since he wishes to protect the family’ name and honour. Sir Michael Audley and Alicia go to Germany. Robert gets a letter from Clara saying that the dying Luke Marks= wants to see him. He is troubled by thoughts of the ‘ghost’ of George Talboys.

VIII   Marks reveals that he has had a secret – which is that he rescued George after Lucy’s murderous attack. George gave him two letters for Robert and Lucy – but they were never delivered. Phoebe witnessed Lucy’s attack on George, but kept the secret together with Luke, who dies the day after his revelation.

IX   Robert visits Harcourt Talboys and wonders how they can contact George in Australia. Robert is in love with Clara, and declares himself to her, but when he returns to London to begin the search, George is there waiting for him, having been in America.

X   Robert marries Clara and lives in an idyllic cottage in Teddington on the Thames, working as a lawyer. Lucy dies in the Belgian sanctuary.


Lady Audley’s Secret – principal characters
Sir Michael Audley a wealthy baronet and estate owner (56)
Alicia Audley his spirited daughter by his first wife
Robert Audley his nephew (and heir) who is studying law (27)
Lucy Graham Sir Michael’s second wife – an ex-governess
George Talboys an ex-Etonian friend of Robert (25)
Harcourt Talboys George’s strict and puritannical father
Clara Talboys George’s beautiful sister
Phoebe Marks maid to Lady Audley
Luke Marks cousin and lover of Phoebe
Mr Dowson the parish surgeon, Lucy’s previous employer
Mrs Vincent private school head (in debt) Lucy’s referee
Captain Maldon Lucy’s drunken father in Portsmouth

Lady Audley’s Secret – further reading

Richard D. Altick Victorian Studies in Scarlet, New York: W.W. Norton, 1979.

Jennifer Carnell, The Literary Lives of Mary Elizabeth Braddon: A Study of Her Life and Work, UK: Sensation Press, 2000.

Ann Cvetkovich, Mixed Feelings: Feminism, Mass Culture, and Victorian Sensationalism, New Jersey: Rutgers University Press, 1992.

P.D. Edwards, Some Mid-Victorian Thrillers: The Sensation Novel, Its Friends and Its Foes, Queensland: University of Queensland Press, 1971.

Winifred Hughes, The Maniac in the Cellar: Sensation Novels of the 1860s, Princeton: Princeton University Press, 2014.

Lyn Pykett, The ‘Improper’ Feminine: The Woman’s Sensation Novel and the New Woman Writing, London: Routledge, 2013.

Anthea Trodd, Domestic Crime in the Victorian Novel, London: Palgrave-Macmillan, 1988.

Robert Lee Wolff, Sensational Victorian: The Life and Fiction of Mary Elizabeth Braddon, New York: Garland Publishers, 1979.

© Roy Johnson 2016


More on literature
More on the novella
More on literary studies
More on short stories


Filed Under: Mary Elizabeth Braddon Tagged With: English literature, Lady Audley's Secret, Literary studies, Mary Elizabeth Braddon, The novel

The Doctor’s Wife

October 9, 2016 by Roy Johnson

tutorial, study guide, web links, and critical commentary

The Doctor’s Wife (1865) was the tenth work of Mary Elizabeth Braddon, a prolific Victorian novelist. She had shot to fame with her fourth publication Lady Audley´s Secret which established her reputation as doyenne of the ´sensation novel´. These works were described as ´novels with a secret´, and they rested heavily on the inclusion of what were considered shocking topics such as bigamy, imprisonment, false identity, forged wills, and other quasi-Gothic elements. Braddon wove these shocking topics into what were otherwise conventional social realist novels of middle and upper-class life – but the´sensation´ elemenst suggested dark forces lurking beneath the surface of polite society.

The Doctor's Wife


The Doctor’s Wife – a note on the text

The novel was first issued as a serial in monthly instalments between January and December 1864 in Temple Bar, a magazine devoted to poetry, essays, and prose fiction. It was then published in three-volume format, which was conventional at that time. Various other editions of Braddon´s works were issued during her own lifetime as a result of the popularity of her writing. For a full description of the textual history of the novel, see Lynn Pykett´s notes to the Oxford World´s Classics edition of the text.


The Doctor’s Wife – critical commentary

The sensation novel

Towards the end of The Doctor’s Wife Braddon (speaking with the voice of the narrator) claims ‘This is not a sensation novel. I write here what I know to be the truth.’ But she writes very much tongue in cheek, for the novel has many of the ingredients of a sensation novel – or ‘the novel with a secret’ as they were sometimes described.

The major secret in the narrative is the fact that Isabel’s father Mr Sleaford is not a ‘barrister’ as he is described in an opening chapter. He disappears immediately after this introduction when the family fall behind with the rent and are forced to vacate their Camberwell dwelling. Sleaford emerges again during the middle of the novel as the man who threatens to kill Roland Lansdell – but his identity is disguised behind the pseudonym ‘Jack the Scribe’.

Sleaford (we learn later) is in fact a criminal fraudster who specialises in forgery – for which he is eventually sent to jail. His family home in Camberwell is built on a sham existence, a pretence of respectability which is shattered when he is found out and has to de-camp.

Braddon plays a little unfairly with her readers over this issue. We spend page after page locked in the private thoughts of Isabel Sleaford about every aspect of Roland Lansdell’s character and doings, but not once does she think of the link between her father and the man she loves, who she knows has threatened to kill him.

In other words, psychological credibility in the novel is sacrificed to melodramatic plot manipulation to produce the shock effect of Sleaford’s sudden reappearance at the end of the novel. These are precisely the sort of sensation novel cliches Braddon satirises in the earlier parts of the book which feature the (somewhat superfluous) character Sigismund Smith, who writes sensation novels.

There are many other elements of the sensation novel at work in the plot. When Sleaford comes out of prison he blackmails his own daughter and then bludgeons Roland Lansdell to death as he threatened to do when Roland acted as a witness at his trial.

Roland falls in love with Isabel – who is married – and wishes to elope with her to live in Italy – which introduces the element of adultery, even though this ultimately does not take place.

Madame Bovary

The similarities between The Doctor’s Wife and Madame Bovary (1856) will be obvious to anyone who has read both novels – which were written only a few years apart. Both Isabel and Emma Bovary are victims of an addiction to romantic fiction, both are married to forbearing but boring provincial doctors, and both become emotionally involved with characters of a higher social status.

These similarities are quite obvious – but the differences are instructive. Flaubert’s heroine Emma Bovary does actually commit adultery, which is the logical development of a romantic passion. Braddon’s heroine does not cross this line – since censorship of fiction was much stricter in England than in France at the time. But it should be noted that Flaubert was pilloried by the French establishment and taken to court for the ‘immorality’ of his text.

Isabel rationalises her rejection of Roland’s offer of sexual commitment with the argument that to accept it would sully the romantic image in which she had enveloped him. This attitude blends seamlessly with the quasi-religious sentiments into which the events of the novel descend in its closing stages.

Contemporary readers are likely to find these issues of narrative resolution disappointing if not unconvincing. Isabel suddenly finds ‘respect’ for her husband, Roland forgives the man who has attacked him, and he ‘realises’ that he has ‘wronged’ Isabel by falling in love with her.

Braddon steers cautiously clear of the logical development of the theme she is exploring and merely envelops Isabel in clouds of romantic fiction and love of poets. Isabel never engages physically with Roland Lansdell: they remain lovers in theory alone, reading books underneath Lord Thurston’s oak tree.

Weakness

Braddon was known as ‘the queen of the circulating libraries’ – a role which required her to provide three volume novels that sold, rather expensively at five shillings per volume – half the weekly income of a modest, middle-class household. She did this admirably, writing a total of more than eighty novels during her professional career.

But this had an effect on her literary style. She goes in for long digressions, elaborate scene setting, and the creation of events which fill the pages of the three volumes – but do not add to the coherence of the novel.

The principal weakness which blights The Doctor’s Wife, is the inordinate degree of repetition detailing Isabel’s dilemma. We are told about her attachment to a view of life formed by her reading of romantic literature – but told about it over and over, again and again, in almost every chapter.

This repetition is exacerbated by the glacially slow progress of the plot, which has only one central strand – the tension between Isabel’s romantic views and her fixation on Roland Lansdell. The first two volumes of the triple-decker are almost all taken up with a will-she, won’t-she tension which is never resolved.

Braddon also has a stylistic tic of triplicating her comparisons and metaphors. If a situation or an aspect of character is mentioned, it is elaborated threefold:

Could it be that this woman had deceived him, – this woman for whom he had been false to all the teaching of his life, – this woman, at whose feet he had offered up that comfortable philosophy which found an infallible armour against sottow in supreme indifference to all things under heaven, – this woman, for whose sake he had consented to resume the painful heritage of humanity, the faculty of suffering?

Loose ends

There are also a number of loose ends in the narrative – lines of character and plot which are simply not developed or linked coherently to the story as a whole. They stick out like undigested lumps in the text, reducing its overall coherence.

For instance there is a wonderful character sketch of Horace Sleaford at the start of the novel. He is a cantankerous youth who is trapped half way between boyhood and manhood. He takes out his discontent on everybody he meets. As a character type, he is straight out of Charles Dickens, and is enormously successful as a fictional creation:

Master Sleaford shut the door with a bang and locked it … The disdainful boy took the key from the lock, and carried it in-doors on his little finger. He had warts upon his hands, and warts are the stigmata of boyhood, and the sleeves of his jacket were white and shiny at the elbows, and left him cruelly exposed about the wrists. The knowledge of his youth, and that shabby frowziness of rainment peculiar to middle-class hobbñedehoyhood, gave him a sulky fierceness of aspect … He suspected everybody of despising him, and was perpetually trying to look down the scorn of others with still deeper scorn.

But having made a vivid appearance in the second chapter, he never appears again, and has no relevance whatsoever to the novel as a whole. These elements demonstrate Braddon´s powerful imagination (and her often sardonic turn of humour) but they do not help to create a coherent novel. It is difficult to escape the suspicion that they are created merely to fill out the pages of the three volumes.


The Doctor’s Wife – study resources

The Doctor's Wife The Doctor’s Wife – Oxford Classics – Amazon UK

The Doctor's Wife The Doctor’s Wife – Oxford Classics – Amazon US

The Doctor's Wife The Doctor’s Wife – hardcover edition – Amazon UK

The Doctor's Wife The Doctor’s Wife – hardcover edition – Amazon US

The Doctor's Wife The Doctor’s Wife – Kindle eBook – Amazon UK

The Doctor's Wife The Doctor’s Wife – Kindle eBook – Amazon US

The Doctor's Wife The Complete Works of Mary Elizabeth Braddon – Kindle eBook


The Doctor’s Wife – chapter summaries

Volume I

I   Young provincial doctor George Gilbert takes a holiday in London, arriving at the chambers of his friend Samuel (‘Sigismund’) Smith, who is a sensation novelist.

II   Smith is a mild young man who writes fanciful adventure fiction. They walk to the decrepit Sleaford house where he lodges and meet the disaffected youth Horace. The whole house is a dilapidated shambles.

III   George meets the attractive but hopelessly romantic daughter Isabel Sleaford. They enjoy a jolly lobster supper, but their pleasure is spoiled by the arrival of Mr Sleaford in a very bad mood. Next day Smith takes George to a French bistro, but when they get back the whole house is empty. The family have left for America, having defaulted on the rent.

IV   George and Smith are visited by the irate landlord of the house. Smith describes his plagiaristic literary methods and offers satires of the sensation novel.

V   George’s father eventually dies, leaving him to take over his medical practice. He is supported by the devotion of the gardener William Jeffson. Smith writes a letter with news of Isabel who is working as a governess near to George, who unconvincingly professes his indifference.

VI   George rides over to visit Isabel, but the meeting is uneventful and disappointing. Isabel continues to live via the romantic and sentimental dreams created by fiction and myths.

VII   There is a complete mismatch between George’s and Isabel’s dreams of their futures. They go on a picnic with Smith and Charles Raymond, who speculates on Isabel’s future. George finally declares his love and asks Isabel to be his wife. She thinks of the event as part of some romantic fiction.

VIII   William Jeffson warns George against rushing into marriage – especially with someone whom he knows so little about and who has not declared her love for him.

IX   Isabel enjoys the idea of being engaged, but she delays the marriage itself. She wishes George were more romantic, but he is not. Finally they get married, without any passion or deep engagement with each other.

X   They go on a week’s honeymoon and rapidly realise that they have nothing to say to each other. Within a week Isabel feels that she has made a terrible mistake. They arrive home to an unheated and cheerless house.

XI   Isabel feels stifled by the uneventful nature of her life, whilst George is absorbed in his work as a doctor. She continues to live in a romantic dream world.

XII   On Isabel’s birthday George takes her on a commemorative outing and picnic. They meet Roland Lansdell and Lady Gwendoline. Isabel sees Roland as a living Byronic hero

Volume II

I   Landsell had great prospects when young but by thirty they have come to nothing. He has been engaged to Lady Gwendoline, but she broke off the relationship, with her ambition set on higher social connections. He has been in parliament, but left because his reforming schemes failed.

II   Isabel loses herself in romantic yearning for Roland Lansdell, whom she meets out in the country. He invites Isabel and George to lunch the following week.

III   Lansdell is bored and unoccupied. He pities Isabel’s naievety, and prides himself on doing ‘no harm’ to anyone.

IV   The luncheon party is a big success. Raymmond recounts the story of his once having identified a banking fraudster who threatened to kill him once he was released from custody – which causes Isabel to faint.

V   Isabel and Raymond have more frequent meetings in the countryside. He lends her books from his library. Sigismond Smith visits and reveals that he was once Raymond’s tutor. They meet Raymond who proposes another picnic and a Sunday luncheon.

VI   Roland puts a lot of effort into the picnic, thinking he is leaving England soon. Charles Raymond warns Roland to stop paying so much attention to Isabel, and Roland promises to leave England the next day.

VII   Roland rides back home thinking regretfully what his life might have been. He writes a stiff, formal letter of explanation to Isabel.

VIII   Next day, Isabel is devastated when the letter arrives. She goes into a state of shock, then thinks of suicide. Her husband is oblivious to what is going on.

IX   The autumn and winter months pass by. Isabel tries to find meaningful occupation, but failSs. She starts visiting the library at Mordred Priory, Roland´s country house. It is there that she meets Roland when he suddenly comes back to England because of her.

X   Charles Raymond tries to persuade Roland to go away again to avoid a scandal, but he refuses, arguing that he is sincerely in love with Isabel, and she with him. It is a passion that has given meaning to his life. Raymond reveals that he loved Roland’s mother.

XI   Isabel is happy that Roland has returned, and he declares his love for her openly. He plans to visit London, and will reveal the results in two days time. She fears he might marry Lady Gwendoline.

XII   Next day Gwendoline arrives to issue a dire warning to Isabel about the malicious gossip that is circulating locally. Isabel once again thinks of stoic renunciation and suicide.

XIII   Roland finally asks Isabel to leave her husband and elope to live with him in Italy. But she refuses, seeing such a move as spoiling the romantic nature of their relationship. His offer confirms the criticisms made of him by Gwendoline.

Volume III

I   Isabel feels galled that Roland has not understood what to her was the ‘pure’ nature of their relationship. She feels the censure of the villagers, and seeks a semi-religious consolation in the sermon of a popular preacher.

II   Isabel begins to wonder if she has made a mistake in refusing Roland. He on his part endures a mixture of rage and frustration, hoping she will change her mind. He bemoans his world-weary state to Gwendoline, who reports on Isabel’s enthusiasm for the popular preacher.

III   Roland goes to the church in the hope of seeing Isabel. She appears for the afternoon service, and they are both very conscious of each other’s presence.

IV   Isabel walks home to find her husband ill with fever. She has been trying hard to be virtuous, but she is suddenly confronted by a threatening stranger.

V   George Gilbert’s illness gets worse. Isabel does her best to support him, feeling that she must atone for her ‘sins’. She feels motivated by the parson’s sermons.

VI   Roland feels resentful towards Isabel because of her rejection, but when she arrives late one night to ask for fifty pounds, he gives it to her and treats her in a friendly manner.

VII   Roland hears from Raymond the local gossip that Isabel has been seen with a strange man late at night. He immediately believes that Isabel has betrayed him with someone else.

VIII   Roland goes in search of Isabel and the strange man she is meeting. He attacks the man, only to find that it is her father, and he apologises. But Mr Sleaford is also the cheque fraudster who has vowed to kill him. Sleaford bludgeons Roland then leaves the area.

IX   Isabel has asked Roland for the money in order to get rid of her father and protect Roland, fearing he will learn of his proximity in the area.

X   Isabel feels relief that her father has gone, but her husband gets worse and eventually dies. Isabel is bitterly reproached by Mrs Jeffson.

XI   Isabel is overwhelmed by George’s death, and once again feels guilty for what she perceives as her sinful life. Raymond arrives and takes her to Roland, who is dying. Roland wants Isabel to forgive him for what he now sees as a wrongful pursuit of her. He also wants Gwendoline to befriend her. He appeals to Isabel to devote herself to good works, He has a quasi-religious conversion, and then dies.

XII   Mr Sleaford takes his fifty pounds blackmail money to start a new fraudulent venture in America. Isabel is bequeathed Roland’s property and money in his will. She goes abroad with Gwendoline, then settles down at Mordren Priory and makes improvements to the estate.


The Doctor´s Wife – principal characters
Sigismund (Samuel) Smith his friend, a sensation novelist
George Gilbert a young provincial doctor
Mr Sleaford a fraudulent ´barrister´
Horace Sleaford his son, a cantankerous boy
Isabel Sleaford his daughter, a beautiful young woman
William Jeffson a lazy but loyal gardener
Matilda Jeffson his reproachful and embittered wife
Charles Raymond a philanthropist, Smith´s uncle
Roland Lansdell a rich gentleman estate owner
Lady Gwendoline Pomphrey his cousin
Austin Colbourne a popular preacher

The Doctor´s Wife – further reading

Richard D. Altick Victorian Studies in Scarlet, New York: W.W. Norton, 1979.

Jennifer Carnell, The Literary Lives of Mary Elizabeth Braddon: A Study of Her Life and Work, UK: Sensation Press, 2000.

Ann Cvetkovich, Mixed Feelings: Feminism, Mass Culture, and Victorian Sensationalism, New Jersey: Rutgers University Press, 1992.

P.D. Edwards, Some Mid-Victorian Thrillers: The Sensation Novel, Its Friends and Its Foes, Queensland: University of Queensland Press, 1971.

Winifred Hughes, The Maniac in the Cellar: Sensation Novels of the 1860s, Princeton: Princeton University Press, 2014.

Lyn Pykett, The ‘Improper’ Feminine: The Woman’s Sensation Novel and the New Woman Writing, London: Routledge, 2013.

Anthea Trodd, Domestic Crime in the Victorian Novel, London: Palgrave-Macmillan, 1988.

Robert Lee Wolff, Sensational Victorian: The Life and Fiction of Mary Elizabeth Braddon, New York: Garland Publishers, 1979.

© Roy Johnson 2016


Filed Under: Mary Elizabeth Braddon Tagged With: English literature, Literary studies, Mary Elizabeth Braddon, The novel

Related posts

  • 19C Authors
  • 19C Literature
  • 20C Authors
  • 20C Literature
  • Bloomsbury Group
  • Conrad – Tales
  • James – Tales
  • Nabokov – Stories
  • Short Stories
  • The Novella
  • Wharton – Stories
  • Woolf – Stories

Get in touch

info@mantex.co.uk

Content © Mantex 2016
  • About Us
  • Advertising
  • Clients
  • Contact
  • FAQ
  • Links
  • Services
  • Reviews
  • Sitemap
  • T & C’s
  • Testimonials
  • Privacy

Copyright © 2025 · Mantex

Copyright © 2025 · News Pro Theme on Genesis Framework · WordPress · Log in