Volu m e II - Purdue University Calumet

Marian’s strong relationship with Walter demonstrates her paradoxical state, for she also has a close
relationship with Laura. Carolyn Dever argues that Marian provides a masculine companion for Walter and
a feminine companion for Laura (114). The juxtaposition of Marian’s male and female relationships suggests
that she is a paradox just like Victoria. Marian reveals her strong feelings for Laura when she tells Walter
that “I won’t live without [Laura], and she can’t live without me; and that is how I come to be at
Limmeridge House. My sister and I are honestly fond of each other” (34). Marian’s fondness for Laura
never ceases, and she even lives with the newly married Walter and Laura at the end of the novel (642).
Marian’s ability to fulfill two contradictory roles simultaneously demonstrates her connection to Victoria.
However, since Victoria did not exhibit her progressive views to the British public, Collins was unaware of
Victoria's paradoxical femininity, and he did not consciously model Marian after Victoria. Collins'
representation of Marian as a masculine angel in the house, however, suggests a new understanding of
Victorian femininity.
Victoria and Marian are powerful, independent, and masculine, but they still exhibit traditional
Victorian femininity. Marian, therefore, represents a new type of femininity, for the characters admire and
respect her in spite of, or maybe because of her masculinity. At the end of the novel, Walter says, “Marian
was the good angel of our lives—let Marian end our Story (643). Marian’s intelligence and good judgment
allow Walter to see her as a partner and an equal, and he is then able to respect her femininity. Fosco also
admires Marian, but he admires her for deviating from the role that Laura occupies: a spineless, foolish and
weak woman. Fosco asks,
Can you look at Miss Halcombe, and not see that she has the foresight and the resolution of
a man? . . . this grand creature, who stands in the strength of her love and her courage,
firm as a rock between us two, and that poor flimsy pretty blonde wife of yours—this
magnificent woman . . . you drive to extremities, as if she was no sharper and no bolder
than the rest of her sex. (331)
337