Mary Elizabeth Braddon's sensational novel Lady Audley's Secret presents the surprising and cynical idea that "the kind of surprise at the imaginary company one is keeping, or at the worldview... is central to an entire genre of fiction" (Introduction). In the story, Braddon's plot reflects this idea through mischievous actions and mystery. It vividly expresses the conflict of deceptions between the characters involved in the dramatic events that occur. This deception exists at the heart of every relationship in the novel, namely in the areas of love and family. They range from small mistakes to large projects that affect the lives of everyone associated with them. Relationships within this novel function as a primary means of accommodating the communal quality of deception. Regardless of how well-established or personal the relationships seem, this attribute still exists to a general or surprising degree. Moreover, despite the fact that relationships are sometimes tainted by deception, people continue their lives together. By presenting his characters with so many hidden desires and actions, Braddon attempts to reveal that deception embodies a controlling force in the lives of the protagonists and antagonists. She implies the idea that deception is generally a feature of all relationships. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get Original EssayBraddon presents the relationship between Sir Michael and Lucy Audley as a fundamentally deceitful affair that ultimately leads to their separation. They immediately choose to be deceptive and avoid revealing their intentions. From the beginning, Michael talks himself into believing that having a young wife, who loves him only for his wealth, doesn't bother him. He wishes to marry Lucy despite this fact, and "his hope was that, as her life had most likely been one of hard work... with protective care making it necessary for her, he would win her young heart and get from her fresh and primordial love only the promise of his hand" (7). This passage illustrates the first example of deception present in their courtship before marriage. Here Braddon suggests that deception can somehow show up in any relationship at any time and set the tone for the rest of the relationship. In this case, deception becomes an inherent dilemma from the beginning of their acquaintance. In "Taking the Measure of Human Relationships: An Interview with Jean-Pierre Dardenne and Luc Dardenne," Joan and Dennis West delve into how a relationship works. The authors believe that the novel "follows complex characters as they grapple with difficult moral and ethical dilemmas" (14). They reviewed a story in which the protagonist has a relationship with his father full of obvious deception and must choose between loyalty or what is best for himself. The underlying trait of deception connects these two stories in that Michael and Lucy must make the same choice in their relationship. At first, Michael's deceitful actions suggest that at some point they will have to deal with the problems surrounding the novel's plot. In an article on "Acts of Madness: Lady Audley and the Meanings of Victorian Femininity," the author examines the issue of deception in the realm of private-life relationships in Lady Audley's Secret. This article examines the idea that deception exists in Michael and Lucy's relationship as a means of ensuring their own happiness. Lynn Voskuil writes, "a woman might be the compliant conduit of an idealized subjectivity or she might be the assertive protector of her family's well-being and her own. More precisely, most likelyplays both roles at the same time" (612). This idea applies to Lucy who constantly tries to protect herself at all costs. These attempts lead her to deception as she accepts Michael's proposal. She states: "'I won't ask too much of you. I dare say I am a crazy old romantic; but if I don't despise you, and if you don't love anyone else, I see no reason why we shouldn't be a very happy couple. Is this a deal, Lucy?' 'Yes'" (11). Because her options as a poor woman are limited, she chooses to satisfy herself even as he warns her that marrying someone you don't love must be one of the greatest sins. Braddon writes, "'No more addiction , no more toil, no more humiliation", he said; 'every trace of the old life has dissolved - every hint of identity buried and forgotten...'" (12). This is Lucy's self-convincing statement that eases her mind regarding any feelings of guilt. She feels a sense of security in pretending to love Michael, completely ignoring her true feelings. The idea that the deception underlying a relationship can permeate somehow unnoticed is obvious in this couple. Deception takes on a major role in this situation, despite the amount of honest and sincere commitment expected to be needed in any marriage. Deception ensues as Michael and Lucy live together. Over time, Lucy completely deceives her husband and denies even the closest people access to her past life and her troubling experiences chair near the spot on which she was kneeling, and with her hands clasped and her head bowed to grasping every syllable of those horrible words, he listened as if his whole being had been resolved” (347). His falseness becomes evident when Michael discovers the truth about his disastrous upbringing and seems reluctant to believe it after so much time has passed. Lucy created fin from the beginning a rift of deceptions between them. "Acts of Madness," Voskuil lists several observations: Seen in the light of Lewes' theatrical theories, Lucy Audley is suspect because she realizes not a shared, coherent human nature but a singular gendered self. , peculiar - a self that his theories latently recognized.. psychiatrists explain the idiosyncrasies that distinguished madness from normality (615) This passage supports the idea that Lucia's deception develops from her peculiar desire for self-confidence, and suggests that she does not reveal her past because she wants to avoid the pain of her memories by not revealing them. Lucy is intentionally hiding information in her marriage that could cause her to lose everything she has. It is this act of deception that ultimately leads her to mania and exit from this relationship. When Robert Audley finally confronts her, she is unable to face the reality that he knows all her secrets and, as a result, overcome by the mad "I AM MAD!" (346), he proclaims. The relationship between Robert and Alicia Audley is presented as a kinship in which there are elements of subtle deception, as in Audley Court. This deception exists between them because they fail to discuss their true feelings and emotions. Braddon writes, "The young man was a great favorite of his uncle, and not at all despised by his pretty, gypsy-faced, happy-go-lucky cousin, Miss Alicia Audley" (33). Although Alicia and Robert are cousins, she loves him, but he never actually informs her that he doesn't share the same feelings. This subtle deception exists as a gray area between them. In “The Graying of Lady Audley's Secret,” Harriet Blodgett states, “The significant point of Braddon's control…that grayness is emphasized lies in his denial that truth is a merely knowable distinction between black and white or detectable in any merely factual account." (137). In reality their relationship possessessome qualities of truth and deception, so this deception is not easily discovered, although it is obvious to readers. Alicia refers to her love for Robert in her letters; however, she thinks the idea of ​​him falling in love is ridiculous because he appears very reserved when it comes to emotions. Braddon also features scenes in which Alicia berates him for his mannerisms regarding love and treatment of close friends. He states: "Alicia, my darling, what is it?... What does all this mean? How gracefully her horse sits! What a beautiful figure, too... but to fly towards a guy like that, without the slightest provocation" ( 116) Robert's emotional reserve is a deceptive action even if it is a family relationship. He remains steadfast and reflects on Alicia's emotional display, refusing to face his feelings and admit that his are the opposite. deception that subtly exists between Robert and Alicia may not be unusual, because people often tend not to mention truths that they feel will cause someone emotional distress. Therefore, a person may not be aware of the deception that even relatives live with deception among themselves. Blodgett highlights a bold idea about Robert by stating that “fact-finding only leads to excess self-blame; instead of the truth that sets him free, he brings" (138). This concept is revealed with Robert and Alicia because the more they try to know each other's thoughts, the more anguish they carry. This explains how, if not investigated , deception can exist without any obvious effect. This speaks to the way in which deception occurs in every relationship, Voskuil explores the notion of "natural acting" as a theory that explains the legibility of human behavior. For Lewes, the idealized and transcendent "common [human] nature" enabled connections between inner and outer self... By mid-century, according to Roger Smith, most medical writers in Britain had "consciously adopted a language physiological" (615). Voskuil revises this theory because it refers to Lady Audley's secret in the area of ​​human interactions and relationships, revealing that the true character is unknown throughout Braddon's novel are at work. and she reveals the relevance of deception in the sphere of "common human nature" in everyday life. Deception serves as a common quality simply because individuals primarily choose to keep to themselves the harsh reality of inner feelings or truths they feel for others. The two in-laws in this work, Robert and Lucy, have a relationship with unknown qualities of deception between them. The mystery of deception surrounds their interactions. First, Lucy tries her best to postpone and avoid Robert's visit to Audley Court because she plans to avoid George Talboys who will accompany him. However Robert, being completely unaware of this matter and his deception, does not think twice about it until later. Braddon writes: "When Robert, therefore, was about to re-enter the inn, only the slightest raise of Lucy's eyebrows was enough... to make her husband understand that she did not want to bore herself with an introduction..." (55). With these two Braddon develops the different deceptions that can occur in a seemingly simple relationship, even if people are not emotionally involved and one party is unaware of the deception. In the article "Relationships in King Lear", Paul Alpers examines the concept of bonding, family relationships. It presents the idea that “relationships, in all their messy and palpable complexity, precede and define recognition” and “can become a form of slavery and oppression” (47). Braddon's novel reflects this concept with Robert and Lucy Audleybecause the present deception later defines the true nature of their relationship as the exact opposite of what was initially expected. In one instance, Robert innocently asks about George Talboy, stating, "God forbid! But I can't help feeling uneasy about him" (87), as Lucy has a "nervous shiver" and denies any knowledge of the matter. Thus he makes himself suspect that he knows something. Their relationship exemplifies how deception can be present and influential whether initially known or unknown"A Dialectic of Deception: The Age of Innocence" by Edith Wharton, Jean Witherow explores the concept of deception. “Wharton explores the subtleties of language as language deceives and, inadvertently, mirrors…inner life…Language as a tool of deception is often noted in critical discourse” (11). This idea of ​​deceiving language is prevalent at Robert's expense. Lucy attempts to persuade her husband to avoid Robert because he is trying to investigate his past knowledge of George. Braddon notes: He'll go tonight, Lucy! exclaimed Sir Michael. I was a blind and careless fool not to think of it sooner. My lovely darling, it certainly wasn't right that Bob should expose the poor boy to your charms. I know he's the kindest, most sincere person I've ever seen, but... but... he's leaving tonight. (128)According to Witherow's theory, Lucy is using the talk with her husband to deceive him. His deception in turn mirrors his own life, full of guilt and pain. She also uses subtle language to deceive Robert about her removal itself, in an attempt to blame her husband for what happened. Braddon states, “Lucy Audley spoke with that peculiar childish vivacity which seemed so natural to her…animated face” (138). Robert endures this deceitful action because he realizes that Lucy is desperately trying to free herself from any suspicion. Wharton considers this “The Dialect of Deception” (12), where her past secrets are made manifest by her deception, which alerts the suspicions of those around her. Braddon clearly presents deception as a controlling force in the protagonists' relationships within this novel. He states that deception is a fundamental characteristic in every form of relationship. Throughout the novel he vividly explores the main characters' experiences with deception and how it affects them personally. Braddon examines the idea that people's true nature can never truly be known. The relationship between Sir Michael and Lucy Audley features fundamental deception due to their devious actions and depicts how some relationships are built on deception. This implies that in their courtship the two continually try to protect themselves from certain feelings and, as a result, have to hide things. The complexity of a relationship of this magnitude is that people are faced with the ethical dilemma of ensuring their own happiness through any means of deception (Joan and Dennis West). The relationship between Robert Audley and Alicia Audley as cousins ​​portrays subtle deception in the most simplistic way. In arguments, both hide their feelings for each other for various reasons. Harriet Blodgett writes about the gray area of ​​deception that exists between Robert and Alicia due to the fact that deception as well as truth may not be evident in a relationship. Finally, Braddon presents the relationship between Robert and Lucy as in-laws in a situation where deception transpires unknown to both parties. In relationships, language and lack of speech can serve as a way to deceive individuals, as the text reveals. Overall, Braddon brilliantly portrays deception as an inclusive aspect of every relationship. Furthermore, it is evident in every relationship explored, whether personal or impersonal, that 36 (2003): 11-21.