Introduction

38
Vanessa Mangione
The description of her character and Avondale’s act of “freeing” or “waking” his
wife from a sheltered and simultaneously oppressive world is again pointing to the
origin of the dilemma, the poor education of female sensibilities. Consequently, as
McDayter states, “abruptly released without careful direction or instruction, Calantha
indulges herself in an orgy of indiscretion and sensuality …” (“Hysterically
Speaking” 165). As a result, the liberation of these women from their chains of
ignorance and naivety unintentionally leads to tragedy.
2.3 Institutionalised vs. Passionate Love
Lamb thus paves the way for the following explosion of female hysteria released
by Glenarvon. She tries to explain why these women never had a chance to act
any differently, how unjustifiable the condemnation of their behaviour actually
was. She clearly sees the blame in the failure of society and in the demand to deny
true love:
“From the deep recesses of a guilty, yet not humble heart, in the agony and
the hopelessness of despair”, said Calantha. “I acknowledge before God
and before man, that for me there is no excuse. I have felt, I have enjoyed
every happiness, every delight, the earth can offer. Its vanities, its pleasures,
its transports have been mine; and in all instances I have misused the power
with which I have been too much and too long entrusted … Tell them I do
not hope that my example can amend them: they will not turn from one
wrong pursuit from me; they will not compare themselves with Calantha…
Yet when they read my history – if amidst the severity of justice which such
a narrative must excite, some feelings of forgiveness and pity should arise,
perhaps the prayer of one, who has suffered much, may ascend for them,
and the thanks of a broken heart be accepted in return.” (279-278)
Having recognised her faults and taking full responsibility for them, Calantha
nevertheless hopes that she will not be condemned too severely by women and
hopes for their compassion and understanding.
The criticism proceeds in Lamb’s depiction of marriage and love in Glenarvon.
To be or to get married does not simultaneously mean to be in love; the bestdepicted
marriages in Glenarvon are those which lack love. Lady Selwyn’s relationship
with her husband is described as an equally beneficial agreement for both
parties, a secure kind of alliance. Lady Selwyn even speaks against a marriage
based on love:
“After all, a wife is only pleasant when her husband is out of the way. She
must either be in love, or outer love with him. If the latter, they wrangle;
and if the former, it is ten times worse. Lovers are at all times insufferable;
but when the holy laws of matrimony give them a lawful right to be so