Matilda's Subversion of Gothic Gender Roles
Matilda would be a feminist icon if she were human. Unfortunately, she's not.
Matilda as the Feminine
“ She has observed the duties of religion not less strictly than myself. She has made no attempts to rouze my slumbering passions, nor has She ever conversed with me till this night on the subject of Love. Had She been desirous to gain my affections, not my esteem, She would not have concealed from me her charms so carefully: At this very moment I have never seen her face: Yet certainly that face must be lovely, and her person beautiful…”
When Ambrosio first learns of Matilda's sex he is incensed at her for causing him feelings of temptation, but his perception of her quickly evolves into something very different. At this point in the text, he perceives Matilda to be the ideal Gothic Feminine.
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From this excerpt we see that she is pious, even perhaps as pious as Ambrosio himself. She is coy, keeping her feelings to herself, though certainly not in control of her sentiment, or she would have given up on this Love. She has the beauty that is so revered in the Gothic Feminine and exhibits the concept that someone who is lovely to perceive should also be of a lovely disposition.
Matilda's Transition
“He could not reflect without surprize on the sudden change in Matilda's character and sentiments. But a few days had past since She appeared the mildest and softest of her sex, devoted to his will, and looking up to him as to a superior Being. Now She assumed a sort of courage and manliness in her manners and discourse but ill-calculated to please him. She spoke no longer to insinuate, but command: He found himself unable to cope with her in argument, and was unwillingly obliged to confess the superiority of her judgment. Every moment convinced him of the astonishing powers of her mind: But what She gained in the opinion of the Man, She lost with he interest in the affection of the Lover.”
In this portion of the text, we see the beginnings of Matilda's transition to Gothic Masculinity. Through Ambrosio's eyes we see that where there were once the sentiments "appropriate" to a woman, there is now courage and assertion, traits prized in the masculine only. Ambrosio does not seem entirely disenchanted with her yet though, so there must be some remaining sense of her femininity. He goes on to say that her intelligence impresses him as a man, but is offputting to him as a lover.
Matilda as the Masculine
“Matilda had exiled him from her arms for ever. 'I am no Prostitute, Ambrosio;' Had She told him, when in the fullness of his lust He demanded her favours with more than usual earnestness; 'I am now no more than your Friend, and will not be your Mistress. Cease then to solicit my complying with desires, which insult me. While your heart was mine, I gloried in your embraces: Those happy times are past: My person is become indifferent to you, and 'tis necessity, not love, which makes you seek my enjoyment. I cannot yield to a request so humiliating to my pride.”
Matilda exhibits a level of agency and power over Ambrosio here that is indicative of the Gothic Masculine. Her assertion of her character, and her position not necessarily a sexual threat, but certainly as an authority over his own sexual agency. He does nothing if she does not permit it. She expresses utter control over her sensibilities, something the Gothic Feminine could never hope to achieve. Finally, she exhibits pride, a quality embodied by the Gothic Masculine.
Matilda outside of Gender
"She let the Book fall upon the ground. A cloud of blue fire wrapped itself round her: She waved her hand to Ambrosio, and disappeared."
Unfortunately, Matilda is not the feminist icon she could have been, because alas, she is a demon and therefore totally beyond gender. Way to make a grand exit though.