Behind a Mask Literary Elements

Sensation fiction, Thriller.

The story takes place alternately between two English country estates belonging to the Coventry family during the late part of the 19th century.

Third person point of view; omniscient narrator with an access to the characters’ consciousness.

The tone of the text is serious in order to convey the seriousness of the issue with which it deals. Yet, it is sometimes sarcastic in some passages which mock the late-Victorian norms and conventions. The mood is suspenseful and the reader is continually absorbed with the governess’ schemes and design.

Jean Muir is the central character in the book. She is at once the protagonist and antagonist, which is the author’s way of condemning the late 19th century norms and conventions that formed the main powers acting upon people, and pushing them towards immoral paths against their will.

The major conflict in the book arises from Jean Muir's ambition and desire of a higher social and economical status. For such goal, she uses all kind of skills, art, and deception to manipulate her employers and marry Sir John Coventry.

The story reaches its climax when Edward Coventry discovers Jean Muir’s secret and asks her to leave the house. The reader, at this point, is caught up in Jean’s conflict and the new challenge arising before her, wondering all the time whether she will manage to extract a marriage offer from Sir John in time.

Upon their first encounter with Jean Muir, Lucia and Gerald are doubtful of her. The latter makes a remark concerning her fainting fit saying, “scene first, very well done,” to which the governess answers, “Thanks. The last scene shall be still better” which foreshadows her success at the end of the story. Before leaving the Coventry house triumphant as Lady Coventry, Jean turns to Gerald and reminds him of their first meeting saying, “Is not the last scene better than the first?” in a final assertion and confirmation of her superiority as a woman.

Jean is repeatedly presented or called “poor” by the other characters. Bella Coventry, for instance, tells her brother, “We’ll stand by poor little Muir”. Similarly, Edward thinks to himself, “Poor little woman!” All these are instances of understatement because Jean is far from being a poor helpless creature. In truth, she is the one who controls the household and holds everyone in her power.

“He soon wearied of it, and sent them all away but Ned, who remorsefully haunted the chamber, looking like a comely young Cain”
This is an allusion to the story of Cain and Abel, and a comparison of Edward’s attack on Gerald to Cain’s murder of his brother.

“Miss Muir was just before them, apparently listening to Mrs. Coventry’s remarks upon fainting fits; but she heard, and looked over her shoulders with a gesture like Rachel”.
This is another biblical reference and allusion to the New Testament. Here Jean Muir is compared to Rachel, the favorite of Jacob’s two wives, which foreshadows the future interest of Gerald in her and his preference of her over Lucia.

"A stately old place, rich in oaks, well-kept shrubberies, gay gardens, sunny terraces, carved gables, spacious rooms, liveried servants, and every luxury befitting the ancestral home of a rich and honorable race."

This passage is full of visual imagery which allows the reader to form a rich mental picture of the hall.

“You are shocked, yet what I say is the living truth” This is was the remark added by Jean after relating to Gerald a series of lies about her relationship with Sydney. She calls truth what is made entirely of lies and deception.

“I wish I could! I wish I could!” Exactly identical in structure, sound, meaning, and meter.

“Will you have another cup?” Cup here is a substitute for tea which is a Metonymy.

“Why does she get fluttered when your shadow begins to come and go?” Here, Edward meant the presence of his brother and not just his shadow. The part is mentioned to represent the whole which is a synecdoche.

“The hall is much flattered” Here the Hall, which is Sir John’s home, is given the human characteristic of flattery. A human being can be flattered; a house cannot.