The last critical moment in Molly’s life is Osborne’s death, the time for her to face the last challenge—whether she could work single-handedly to help the Hamleys pass through the dire time after Osborne’s death. Nevertheless, due to the clash between narrative and photographic techniques, Molly wavers between acting upon her own judgment and submitting to Father’s authority.
According to the novel’s narrating prose, when the news of Osborne’s sudden death reaches the Gibson family, Molly is the most composed person in the house.
She cautiously inquires the messenger to verify the truth, and then orders her tearful servant to prepare for her horse. She knows well that it is no time for tears, and she must set off immediately to the Hamley Hall. Molly’s first thought goes to the old squire, knowing that the news would be a great blow to him. She tells her mother resolutely, “I am going. I must go. I cannot bear to think of him alone” (581).
Another mission Molly has in mind is to disclose Osborne’s status, as she was entrusted before—that Osborne not only is secretly married to a French woman, but also has a child. As a secret-bearer, it is time to fulfill Osborne’s wish. So Molly rides by herself for seven miles to get to the Hamley Hall. Molly’s timely arrival
gives the old squire a lot of comfort. Even though it is not easy for a young woman to face death so closely, and to see the body of Osborne lying still before her eyes, Molly expresses her capacity to sooth the grief-stricken old squire. Her independent action and judgment signify a moment of breakthrough in her life.
Nevertheless, these narrative descriptions on Molly’s ability are soon
counterbalanced by some highlights on her manners. When Molly turns to look for her father’s advice, the novel exposes Molly’s disturbing emotion from the viewpoint of Mr. Gibson:
A fit of sobbing came upon her, which her father was afraid would end in hysterics. But suddenly she mastered herself, and looked up into his anxious face, and smiled to reassure him. “I could not help it, papa!”
“No, I know. Go on with what you were saying. You ought to be in bed;
but if you have a secret on mind you won’t sleep.” (W & D 585) This detailed observation on Molly’s manners exposes her vulnerability at once.
Under the moment of photographic scrutiny, Molly becomes a fragile girl who
struggles to control her emotion and to suppress her fears. The previous descriptions of Molly’s determination to help others are soon reduced by these visual-oriented descriptions on her sentimentality. And her role as a helper immediately reverses to the one who appeals to her father for comfort. Besides, the readers are allowed to witness Molly’s gingerly behavior as if through an imaginary camera lens.
Occasionally Molly glances at her father in-between her sentences, observing his reactions and looking for signs of his approval (W & D 588). Sometimes she would look at her father, “as if questioning him as to the desirableness of telling the few further particulars that she knew” (588). Sometimes she elbows her father to finish the lines that she failed to deliver: “‘And the child,’ whispered Molly to her father”
(590), so Mr. Gibson takes over her speech to explain to the squire. Because of her
father’s composed manner, by and by Molly controls her emotion and reveals the whole truth she knows about Osborne.
As a result, the clash of different techniques of representations marks the female protagonist in such a way as to split into two incompatible personalities, and thus making the heroine waver between courageousness and cowardice, and between Father’s authority and her own judgment. When descriptions of Molly’s autonomy are interrupted from time to time by photographic descriptions on her tearful face, the heroine’s courage is soon reduced. Her capability is eventually diminished by her sentimental behavior. The effect of this episode is that Molly Gibson looks like a sensitive girl who manages to be brave when facing a difficult situation that she does not have enough experience to cope with. She tries hard to be strong in spite of her sensitive heart and limited experience. Under this circumstance, it is Mr. Gibson who handles the whole situation with his rational mind, trying to pacify Molly’s disturbing emotions. Molly’s capability is eventually overshadowed by her father’s authority.
This chapter has demonstrated the clash between narrative techniques and photographic techniques in Gaskell’s novel Wives and Daughters. From the examples above, it becomes clear that Molly’s images under photographic
representation form a sharp contrast to those delineated by narrative representation.
Photographic observations in the novel always stress the feminine qualities of the heroine. They highlight her tears, stressing her delicacy, and feminizing her
appearance. The effect is like taking a picture of the heroine: with these snapshots, the novel captures her moments of weakness, freezing her sad looks, and turning the heroine’s frustration into an art of vulnerability. Therefore, as photographic
techniques clash with narrative techniques in Gaskell’s text, Molly’s image remains ambivalent throughout the novel. When she is depicted by narrative techniques, her
image is a lively and naughty girl; yet when presented by photographic techniques, she immediately becomes a fragile and feminine character.