By focusing on Rhoda Broughton’s debut novel, entitled Not Wisely but Too Well (1867), this paper sets out to explore the way the author succeeded in challenging conventional narrative models, besides subverting the customary depiction of “the Angel in the House”, the untarnished, submissive, cherub-like Victorian icon of womanhood so frequently portrayed in contemporary literature.
© 2017 Elisabetta Marino, published by West University of Timisoara
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