In J. Sheridan Le Fanu's novella Carmilla, there is a continuum of transgressive ideas. These ideas are primarily conveyed through the character of Carmilla. Her companion, Laura, however, is exemplary of the classic idea of the fallen woman. Arguably, Carmilla could be viewed as the classic vampire: bloodthirsty and evil. While this may be true in some regard, Carmilla is a complex and polyvalent character who is fueled by more than just her lust for blood. She, in many ways, is the true embodiment of the elements that popularized the Victorian Gothic. These themes and ideas relating to the female Gothic propel the action and intended themes forward in the text. Therefore, the ways in which Carmilla and Laura are conveyed respectively, as
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This is how the concept of the fallen woman came about. It is stated in "Fallen angels: Nicola Onyett Compares Representations of the Fallen Woman in Victorian Art and Literature" by Nicola Onyett: "Women who had been seduced or were living a life of sin had broken the dominant mores of the age so thoroughly that morally and socially they had passed the point of no return"(Onyett 2). The fear of the unknown, unfamiliar, and ungodly became a prevalent facet in many creative works of the time, especially in Le Fanu's …show more content…
She is aware of what she wants and will take the necessary measures to get it. This is exemplified in Carmilla's feelings toward the funeral procession as well as her feelings for Laura. Carmilla states: "'[. . .] I hate funerals. What a fuss! Why you must die-everyone must die; and all are happier when they do. [. . .] I don’t trouble my head about peasants'" (Le Fanu 25). She further states: "' But to die as lovers may-to die together, so that they may live together'" (Le Fanu 31). These statements reveal Carmilla's true nature and motives. Thus, she too could be considered the fallen woman, but to her defense, she maintains the importance of her high social status. Meaning that she is operating, in a sense, to a certain degree of normality. Contrastingly, the author, John Tosh, of "Home and Away: The Flight from Domesticity in Late-Nineteenth-Century England Re-visited" states: "Attitudes to domesticity were therefore critical. Evangelical homilies had a wide currency in the early- to mid-Victorian period. They emphasized the positive role of mothers [. . .]; and they urged married men to allow time and thought to their family relationships [. . .]" (Tosh 562). Despite this, Carmilla gives justification in her dual nature. When she showcases her aristocratic yet rebellious nature, she reveals that social class makes certain behaviors more
This is how the concept of the fallen woman came about. It is stated in "Fallen angels: Nicola Onyett Compares Representations of the Fallen Woman in Victorian Art and Literature" by Nicola Onyett: "Women who had been seduced or were living a life of sin had broken the dominant mores of the age so thoroughly that morally and socially they had passed the point of no return"(Onyett 2). The fear of the unknown, unfamiliar, and ungodly became a prevalent facet in many creative works of the time, especially in Le Fanu's …show more content…
She is aware of what she wants and will take the necessary measures to get it. This is exemplified in Carmilla's feelings toward the funeral procession as well as her feelings for Laura. Carmilla states: "'[. . .] I hate funerals. What a fuss! Why you must die-everyone must die; and all are happier when they do. [. . .] I don’t trouble my head about peasants'" (Le Fanu 25). She further states: "' But to die as lovers may-to die together, so that they may live together'" (Le Fanu 31). These statements reveal Carmilla's true nature and motives. Thus, she too could be considered the fallen woman, but to her defense, she maintains the importance of her high social status. Meaning that she is operating, in a sense, to a certain degree of normality. Contrastingly, the author, John Tosh, of "Home and Away: The Flight from Domesticity in Late-Nineteenth-Century England Re-visited" states: "Attitudes to domesticity were therefore critical. Evangelical homilies had a wide currency in the early- to mid-Victorian period. They emphasized the positive role of mothers [. . .]; and they urged married men to allow time and thought to their family relationships [. . .]" (Tosh 562). Despite this, Carmilla gives justification in her dual nature. When she showcases her aristocratic yet rebellious nature, she reveals that social class makes certain behaviors more