some. She had brown eyes, like Georges... and a mobility of expression which bore record of everychange of feeling (Braddon 198). This mobility of expression that comes pouring out is a symptom ofthe suppressed milieu in which women were forced to live. Clara herself pleads to Robert, let me speakto you, or I shall go mad (Braddon 198). The undertone of madness throughout the novel is also presentin Claras language. She realizes that insanity is a definite possibility if she is not able to express herselfand, instead, is forced to continue stifling and dwarfing the natural feelings of [her] heart, until theyhave become unnatural in their intensity (Braddon 201). In Claras language, Braddon describes theimplications and effects of female repression and hints at the urgency of transgression.Clara is aware, at least unconsciously, of her need for transgression. As Robert perceives, thisapparently passionless girl, had found a voice (Braddon 200). When Robert insinuates that he mightdiscontinue his search for George, it gives Clara an opportunity to transgress the domestic role imposedupon her. She threatens Robert, Then I will do it myself!... I myself will follow up the clue to thismystery... I will travel from one end of the world to the other to find the secret of his fate (Braddon200). This threat of transgression implies Claras willingness to abandon her passivity and take an activerole by supplanting Robert as the detective in the novel. Furthermore, Clara exerts her financialautonomy and declares, I am of age; my own mistress; rich, for I have money left me by one of myaunts... Choose between the two alternatives, Mr. Audley. Shall you or I find my brothers murderer?(Braddon 200-201). Upon hearing this, Robert decides that he must continue his search for fear thatClara might transgress. He tells her that no aid which she could procure with her money could possiblylead her to the secret of Georges disappearance as surely as he can (B...
