By Ellie Jackson

Our guest blogger, Ellie Jackson, a student at Sheffield Hallam University, is looking at the novels of Daphne du Maurier for her final year project. Here are her thoughts about how du Maurier used the aesthetic of the Gothic to great effect in her novels.

The first recognised Gothic novel was written by Horace Walpole in 1764, The Castle of Otranto. The traditional Gothic novel has a number of recognisable key characteristics: death and decay, haunted castles and remote landscapes, intense emotion or fear in the reader. Since the 18th century, the idea of a new, modern Gothic has emerged, and the castle is no longer an essential element to the literature. The narratives of the modern Gothic focus on ‘the urban present, refracting contemporary concerns through the lens of a literature of terror’ (Dryden, 2003).

Daphne du Maurier’s Rebecca is an exemplar model of the modern Gothic; it contains a large mansion, a murder, a great fire and a sinister servant. The pre-eminent Gothic trope is the setting: Manderley, the colossal mansion which the heroine, Mrs de Winter, comes to know after marrying Maxim de Winter. Even her first impressions of Manderley are negative, and leave an impact on her perceptions. The ‘gates crashing’, ‘serpent-like drive’ and the ‘roof of branches’ (du Maurier, 1938, 7) envision entrapment and a sense of a hidden evil. The emphasis on a picturesque landscape casts Manderley with a supernatural mystique, with du Maurier exploring her protagonist’s feelings of sublimity and her relationship with her natural surroundings. Mrs de Winter’s inquisitiveness reflects the twentieth century curiosity and thirst for the unknown. Du Maurier plays on this curiosity in the novel – for example, the murder mystery and the supernatural.

The use of the weather in Gothic literature is important, with storms seen as omens of evil, representing the inner self of the protagonist in externalising fears and conflict. The fog has a significant role in the novel, both literally and figuratively. For much of the novel, the fog completely blinds the narrator, Mrs de Winter, but once the truth of Rebecca is revealed, ‘The mist entered my nostrils and lay upon my lips rank and sour. It was stifling, like a blanket, like an anaesthetic. I was beginning to forget about being unhappy, and about loving Maxim. I was beginning to forget Rebecca,’ (du Maurier, 1938, 18). The lingering presence of the late Mrs de Winter was like the fog, clouding the protagonist’s vision and judgement. However, it is not suggested that Rebecca’s presence in Manderley disappears as the fog does. Even when Manderley is burned at the end, the foreboding first line of the novel, ‘Last night I dreamt I went to Manderley again’ (du Maurier, 1938, 1) suggests not that the presence of Rebecca has been destroyed with it, but that both the house and Rebecca still haunt Mrs de Winter and her husband.

Jamaica Inn encompasses similar conventional Gothic tropes, involving ‘a frail protagonist in terrible danger’, because she ‘is placed in a hostile, threatening, mysterious environment, usually so prodigiously large that it dwarfs her; she is made prisoner, she is threatened by individuals who should protect her, parents and parent-figures’ (Grellet, Valentin, 1996). This describes Mary Yellen, as she becomes the perfect Gothic protagonist on her arrival at Jamaica Inn and is threatened both by her (new) parent figures and the house itself. Although the house is not a ruined castle as pictured in The Castle of Otranto, it embodies characteristics of the traditional Gothic setting, with dark secrets hidden within it, secret rooms, doors and passages which du Maurier uses to build the mystery and workings of Jamaica Inn.

While there are conventional elements of the Gothic seen in both Rebecca and Jamaica Inn, du Maurier portrays My Cousin Rachel as the exact opposite. Traditionally, the Gothic novel features a young, naïve heroine whose inexperience puts her in a disadvantaged position with her older male superior. However, this is not the case for Rachel. Though the Gothic trope of the large manor house on the Ashley estate is present in the novel, it has little power compared to the character of Rachel. She is a headstrong, sexually overt, (eventually) economically stable woman with little need for a man. Du Maurier has drawn on Rachel’s personality in this way to encompass fears and curiosity within the reader about the ‘wicked woman’ who is thought to have murdered her husband and attempted to murder Philip too. Both Rebecca and My Cousin Rachel feature the female villain in their stories, but are they really villains at all? Both women have a disruptive effect on the narrators in their novels, but are their actions actually villainous, or are the impressions offered to the reader unfair from the perspective of other characters?

Mystery, suspense and death are present in all of these novels: the lingering death of Rebecca; the dark, dangerous mystery around Jamaica Inn and the activities undertaken there; and the death of Ambrose and poisoning of Philip all convey traditional and modern elements of the Gothic.

Ellie’s blogs on Class and Social Mobility in the novels of Daphne du Maurier and Rebecca, Rachel and Mary: du Maurier’s Strong, Unconventional Women.

Bibliography

Du Maurier, D. (1938). Rebecca. HarperCollins.

Du Maurier, D. (1951). My Cousin Rachel. Penguin Books.

Du Maurier, D. (1935). Jamaica Inn. Penguin Books.

Dryden, L. (2003). The Modern Gothic. In: The Modern Gothic and Literary Doubles. Palgrave Macmillan, London.

By Ellie Jackson

It’s good to welcome back guest blogger, Ellie Jackson, from Sheffield Hallam University. Ellie has already written her reading journey and a review of Gaudy Night (1935) by Dorothy L Sayers for our blog. Now she is looking at the novels of Daphne du Maurier for her final year project and, as part of that, is writing three blogs for us. Here is the first.

Daphne du Maurier had already published four novels and two biographies by the age of 30 and went on to write many more novels, short stories etc. Search her name in Google, and the first three book titles to show are Rebecca (1938), Jamaica Inn (1935) and My Cousin Rachel (1951) as her most famous novels. Rebecca is undoubtedly the most recognised novel of the three, with multiple film adaptations and written ‘sequels’ by different authors, such as Mrs de Winter (1993) by Susan Hill or Rebecca’s Tale (2001) by Sally Beauman.

Throughout this blog I will be discussing how du Maurier represents her female protagonist in relation to the gender identities presented in these popular fictions. Du Maurier both demonstrates and also subverts the conventional views of femininity through the use of her protagonists.

In Rebecca, this is particularly suggested by the hidden character of Rebecca herself. In some ways, it is suggested that Maxim de Winter’s first wife is an evil villain, a woman who posed a great threat to the conventional rules of female conduct and therefore judged by her unfeminine behaviour and her subversion of the female ideal of pleasing her husband. But critics have suggested that Rebecca was not only a victim of sexism, but of her husband too. The novel is an important early work of feminism, certainly presenting the ways in which the male character dominates. We only ever hear Maxim’s side of the story. Rebecca is never given a voice to speak her truth. Is Maxim the real villain? A controlling husband who expects his wife to behave as an obedient child and when she refuses to abide by his rules, becomes hateful and lashes out at her? Though absent in the novel, Rebecca has a strong presence throughout. Our impression of her becomes increasingly negative and we are made to believe that she is the primary antagonist of the novel, a skilful manipulator having extramarital affairs, and Maxim is portrayed as her helpless victim. Is the novel ahead of its time in terms of gender roles or has it aged badly? Rebecca is a woman who refused to let marriage destroy her right to identity, but she is also judged according to conventional rules for female behaviour that by modern standards don’t carry much currency.

My Cousin Rachel is a second novel by du Maurier that undoubtedly demonstrates this feminist ideology through her independent protagonist Rachel. Du Maurier makes very clear that in the only sex scene in the novel, Rachel is at the height of her power. From the beginning of the novel, Philip lays down his thoughts on the fundamental rules of female behaviour, in which he suggests women are emotional, unpredictable, ‘erratic and unstable’ (du Maurier, 1951, 5) in contrast to the rationality of a man. Rachel’s expression of her comfortable and overt sexuality completely bewilders Philip, and ultimately du Maurier uses his ambivalence to demonstrate that the power of a man is much stronger than the sexual power Rachel exhibits. This is made evident through Rachel’s inability to become pregnant. Sex is independently an act of pleasure rather than a function of marriage or family, and it is definitively on her own terms as Rachel uses it to ‘thank [him], that’s all’ (du Maurier, 1951, 22). So Rachel denying Philip marriage after they slept together turns him rather violent, emphasising his intolerance of her sexual power by attempting to physically overpower her.

The subversion of conventional views of femininity is further shown through du Maurier’s Jamaica Inn. Mary, her protagonist, exhibits a profound loathing for the culturally defined identities which society has given to women. She attempts to ignore her own femaleness, questioning ‘why were women such fools?’ (du Maurier, 1935, 5) in relation to the cruel, powerful character of her uncle Joss. Despite Mary’s self-sufficient character, the lack of identity of a woman under patriarchal influence is demonstrated when she ends up at Jamaica Inn. The masculine power of Joss Merlyn is used as a means to control the women in the novel, as they are ‘trained by constant cruelty to implicit obedience’. (du Maurier, 1935, 2).

Throughout all three of Du Maurier’s most popular novels, it is fair to suggest that she was ahead of her time in terms of gender identity, with her attempts to subvert the traditional societal roles given to women through her female protagonists, but ultimately positioning the male characters in such a way that they will always be superior. The lives of women are in the hands of the men in each of the novels. Mary is the only female protagonist that makes it out of the hands of her male superior. The same cannot be said for the characters of Rebecca and Rachel, who are both murdered for their ‘crimes’ against traditional feminine standards.

Here is Ellie’s second blog, on Daphne du Maurier’s use of the Gothic, and here is her third, on class in du Maurier’s novels.

Bibliography

Du Maurier, D. (1938). Rebecca. HarperCollins.

Du Maurier, D. (1951). My Cousin Rachel. Penguin Books.

Du Maurier, D. (1935). Jamaica Inn. Penguin Books.