Unravelling the Mysteries of “Rebecca”: A Gothic Masterpiece
Daphne du Maurier’s “Rebecca” is a timeless classic that occupies a significant place in the gothic genre. Published in 1938, it is a novel that weaves together elements of mystery, romance, and psychological suspense forming a foundation for the genre of gothic literature in the 21st century. Rebecca immerses readers in a world of dark secrets, oppressive estates, and haunting memories while also setting a new standard for female characters in gothic literature.
Set against the backdrop of Manderley, a sprawling English estate, “Rebecca” encapsulates the atmospheric and psychological elements characteristic of the gothic genre. The novel is richly atmospheric, with du Maurier’s vivid descriptions of Manderley’s sprawling gardens, the foreboding Manderley house, which could be described as a character in an of itself, and the treacherous sea cliffs creating a sense of foreboding and mystery. The setting serves as a character in its own right, imbued with the weight of history and secrets.
In many ways, “Rebecca” can be seen as a spiritual successor to Charlotte Brontë’s “Jane Eyre.” Both novels feature young, naive heroines who find themselves entangled with enigmatic and brooding men in imposing, mysterious estates. The influence of “Jane Eyre” on “Rebecca” is evident in the dynamic between the unnamed narrator and Maxim de Winter, who bears a striking resemblance to Mr. Rochester in his characterisation as a wealthy man with a mysterious past wife.
In “Rebecca” by Daphne du Maurier, we encounter archetypal representations of women in gothic literature that are both influenced by and subvert traditional gender roles. These archetypes, often found in the broader realm of gothic literature, contribute to the perception of women in the story.
An archetype we can see portrayed in Rebecca of the ‘Mad Woman in the Attic’ is closely associated with Charlotte Brontë’s “Jane Eyre” and is exemplified by the character of Bertha Mason, Mr. Rochester’s first wife, who is hidden away in the attic of Thornfield Hall. In “Rebecca,” the shadowy figure of Rebecca de Winter can be seen as a variation of this archetype. While she isn’t physically locked in an attic, her presence, or lack thereof, and her influence loom over Manderley like a malevolent spectre. The book is even named after her, giving her an even greater presence, not only in the mind of the new Mrs de Winter but even in the mind of the reader. The way in which the unnamed narrator of the story, as well as other characters, glorifies Rebecca before the reveal that Rebecca is in fact a hedonistic and evil woman demonstrates the romanticisation of the perfect woman in society. We as women are so often taught to pine after and be more like the aspirational perfect woman, but the reveal that Rebecca, held up as the standard for the new Mrs de Winter, is in fact not as perfect as presented demonstrates how harmful it is to set up such unrealistic standards for women in society.
Another archetype is the ‘Angel in the House’ which represents the idealized, passive, and self-sacrificing Victorian woman so often seen in gothic literature. In “Rebecca,” the unnamed narrator initially embodies this archetype. She is demure, submissive, and strives to fulfil the expectations of her role as a wife. Her lack of name exemplifies this: she is simply Mrs de Winter with no personhood or identity devoid of her husband. However, her transformation throughout the novel is marked by a departure from this stereotype. As she grows more assertive and confronts the secrets surrounding Rebecca, she sheds the ‘Angel in the House’ persona. This evolution reflects the shifting perceptions of women’s roles during the time the novel was written, moving away from idealized passivity towards greater independence and agency. However, Du Maurier presents this evolution as only being fully possible after the true nature of Rebecca is revealed, perhaps suggesting that women need to tear each other down in order to succeed: a very un-feminist message. Contrastingly, however, it could instead suggest that we need to let go of the past and its hold over us in order to fully move into the future, and the defamation of Rebecca is simply a casualty of this need to leave behind the problems of our past society.
The historical context in which “Rebecca” was written is crucial to understanding its portrayal of women. The novel was published in 1938, a time when women’s roles in society were shifting. The interwar period witnessed progress in women’s rights, as they gained more independence and opportunities. However, societal expectations and gender norms still constrained many women. In “Rebecca,” du Maurier explores the tension between the desire for autonomy and the societal pressures that confined women to specific roles.
In conclusion, Daphne du Maurier’s “Rebecca” is a masterful work of gothic literature that draws inspiration from Charlotte Brontë’s “Jane Eyre” while carving out its own distinct identity. It is a novel characterized by its haunting atmosphere, psychological depth, and exploration of the role of women in gothic literature. Against the backdrop of a brooding estate and the looming memory of a deceased first wife, the new Mrs. de Winter’s evolution from passivity to agency reflects the changing roles and expectations of women during the interwar period. “Rebecca” remains a timeless and enduring classic that continues to captivate readers with its gripping gothic narrative.
