In spite of this widely accepted attitude during the nineteenth century, Auerbach maintains that "throughout Jane AusteWs canon, mothers and daughters are at best indifferent and at worst antagonistic" She makes much of Austen's decision to remain childless, as other nineteenth century women writers did, in order to escape the drudgery and servitude implicit in the role. The psychoanalytic development of women as it is influenced by complex mother-daughter relationships appears in Wilkie Collins' The Woman in White. In fact, the failure of that psychoanalytic development and the difficult mother-daughter relationships in this novel nearly destroy any hope of the daughters' Laura's, Anne's and Marian's individual abilities to establish successful interpersonal relationships apart from their mothers.
Part of normal development is a child's separation from its parent.
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A separate identity is essential to psychological health. However, separation differs from disconnection. Separation is normal; disconnection stems from dysfunction. According to Carol Gilligan , "adolescence is considered a crucial time for separation Although psychologists recognize this process as problematic, it is also crucial; however, feeling disconnected evidences "the failure of family relationships" 56 , which can and often does lead to despair.
Gilligan continues:. To be a mother in the societal as well as the physical sense requires the assumption of parental responsibility for the care and protection of a child. However, in order to be able to care for another, one must first be able to care responsibly for oneself A young woman can and should separate herself from her mother, while remaining connected to her through respect, admiration, and love.
This implies that separation from one's own mother precedes accepting responsibility for one's own child. The process of connecting and separating repeats itself with each successive generation.
In a literary sense, and especially nineteenth century literature, the process of separation seems more like disconnection. Marianne Hirsch says that 'in conventional nineteenth-century plots of the European and American tradition, the fantasy that controls the female family romance is the desire for the heroine's singularity based on disidentification from the fate of other women, especially mothers" Mother The heroine strongly desires disidentification: "The nineteenth-century heroine,. Anne, determined to shape a different plot for herself, tends not only to be separated from the figure and story of her mother, but herself tries to avoid maternity at all costs" Sadly, the fate of the typical nineteenth-century female heroine seems to be to repeat her mother's mistakes in judgment.
In Wilkie Collins' The Woman in White , the three main female characters are all half-sisters, Laura and Marian sharing the same mother, and Laura and Anne sharing the same father. Laura Fairlie and her half-sister Marian did not suffer a violent disconnection from the late Mrs. Fairlie, a character who only exists in the novel's past. Marian plays the role of the mother from whom Laura cannot separate.
Since Marian never fully establishes her own identity, she and Laura do not suffer disconnection or separation. Anne Catherick, who never really established a connected relationship with her mother at all, had to separate herself from three women: Mrs. Catherick, Mrs. Clements, and Mrs. A discussion of Anne's relationship with her biological mother and with her foster mother Mrs. Clements will follow. For now, Anne's inability to let Mrs. Fairlie go as evidenced by her continual mourning and desire to join Mrs. Fairlie in the grave , to accept her death and to go on with her own life, represents her failure to separate from her.
Separation not achieved becomes disconnection, dysfunctional. Although separation from one's mother is natural, normal, and necessary, disconnection from her causes great despair and feelings of failure. Unfortunately for the young women in Collins' novel, disconnection from their mothers became a reality which they reluctantly had to confront. This disconnection, for the most part, was the direct result of the mothers' failure, in one way or another, either to nurture or to separate willingly from their daughters. Ideally, mothers should guide their daughters and teach them how to live, how to love, how to make wise choices, how to accept responsibility, and how to have a successful and satisfying family life of their own.
Three Women Describe Their Complicated Mother/Daughter Relationships | A Cup of Jo
The mother-daughter relationships in Collins' The Woman in White are extremely complex. The fact that the three main female characters are all half-sisters, shows that this complexity is by design. If Marian, Laura and Anne figuratively ,represent separate parts of one whole person, then Mrs. Fairlie, Mrs. Catherick also figuratively make up one mother, with both good and bad aspects. By far the most emotionally damaging of these relationships, however, is the dynamic triad between Anne, her biological mother Mrs. Catherick, and Mrs. Anne spent too little time with Mrs.
Fairlie too late in her life to offset the damage already done by Mrs. Catherick or to prevent her future emotional turmoil. Although Mrs.
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Fairlie made a huge impact on Anne, her kindness cannot and does not save her from her mother's machinations. After Mrs. Fairlie dies, Anne clings to her substitute, Mrs. Clements, who does the best she can in an untenable situation. She shows Anne compassion and sympathy, two emotions Anne's own mother seems incapable of feeling.
Clements takes the child Anne because, as she explains to Walter, "There was nobody else, sir, to take the little helpless creature in hand" Collins Even though, as Mrs. Clements explains, Anne "led but a gloomy life in my house, having no playmates, like other children, to brighten her up" , at least she lives there in a loving and supportive atmosphere.
Good Mother, Bad Daughter? - An Adult Daughter's Guide to Coping With an Emotionally Abusive Mother
Clements admits that Anne "was slow at her lessons, poor soul, and not so cheerful as other children-but as pretty a little girl to look at as you would wish to see" ; however, she accepts Anne for herself, without using her for some ulterior motive, or to hurt others. Unfortunately, neither the memory of Mrs. Fairlie nor the compassionate care of Mrs. Clements can undo the damage done to Anne's psyche by her birth mother, because "it is the failure of the real mother to nurture her child which sets in motion the negative forces in [this] book" Leavy In this conversation with Walter, Mrs.
Clements gives the reader a clear picture of Anne's mother's failure to nurture:.
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My heart was heavy for the child; and I made the offer to bring it up as tenderly as if it was my own. Catherick had her whims and fancies about it, at times; and used now and then to lay claim to the child, as if she wanted to spite me for bringing it up. But these fits of hers never lasted for long Click the Internet Zone. If you do not have to customize your Internet security settings, click Default Level. Then go to step 5. Click OK to close the Internet Options popup.
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Mother-Daughter Conflict: What You Need to Know
I know this because like many others, I was born to an emotionally-abusive mother. Yet having grown up in the hands of emotional abuse, it has taken me most of my adult life to finally overcome the effects of this mistreatment, mainly through trial and error. Fortunately the strategies that I have learnt have enabled me to develop the much needed peace of mind that everybody is entitled to. If, like me you also grew up with a mother-figure who was emotionally abusive to you, then Good Mother, Bad Daughter? Learn how to overcome the emotional abuse perpetrated by your mother, whether she be alive and well or being dead for many years.
Title: Good Mother, Bad Daughter? Select Parent Grandparent Teacher Kid at heart. Age of the child I gave this to:.