Frederick Clegg, a twenty-one-year-old man from a working-class background, leads a solitary life in Southampton, England. He works as a clerk during the day and indulges in butterfly collecting and soccer pool betting in his spare time.
Ever since his father passed away and his mother abandoned him at the age of two, Frederick was raised by his Aunt Annie and Uncle Dick. Among them, it was Dick who embraced Frederick as his own son, taking him fishing and encouraging his passion for collecting butterflies, even though Annie looked down upon it. Dick was the only person who truly understood and loved Frederick, but unfortunately, he passed away when Frederick turned 15.
After a period of service in the army, Frederick takes up a clerical job in Southampton. He greatly dislikes his colleagues, particularly resenting the way women ogle his coworker Crutchley, whom Frederick considers vulgar. Frederick is generally repulsed by sexuality, viewing it as a crude and animalistic instinct that he believes he lacks. He finds solace in avoiding social interactions with his coworkers, except for their involvement in the soccer pools where they place bets.
Frederick develops an intense fixation on Miranda Grey, a high school student who resides in close proximity to his workplace. Miranda and her family belong to the upper middle class. Frederick draws a parallel between Miranda's physical attractiveness and the exquisite allure of a rare butterfly:
Seeing her always made me feel like I was catching a rarity [...] A Pale Clouded Yellow, for instance. I always thought of her like that, I mean words like elusive and sporadic, and very refined - not like the other ones, even the pretty ones. More for the real connoisseur.
For a span of one year, Frederick surreptitiously observes Miranda, meticulously documenting his sightings and amassing knowledge about
her life. He yearns to become the kind of man who could impress her, hoping for a potential marital connection. However, he acknowledges that his impoverished background and working-class status would eliminate any chance of success. Frederick maintains his unwavering insistence that his intentions are devoid of any "vile" sexual motives. His only aspiration revolves around ensuring Miranda's happiness. Nevertheless, upon witnessing her in the company of her boyfriend, Frederick finds himself imagining an act of violence towards her.
In his mid-twenties, Frederick experiences a stroke of luck and wins a substantial sum of money amounting to £73,000 from a soccer pool,equivalent to approximately $1.6 million in 2023. This substantial windfall prompts him to resign from his job and relocate to London with Annie and her daughter, Mabel. However, their newfound wealth exposes them to condescension and snobbery due to their perceived lack of cultural refinement and education.
While settling into their new life in London, Frederick discovers that Miranda, who is now 20 years old, is also residing in the city, pursuing her studies in art. Despite his newfound riches, Frederick realizes that his social standing as a person from a lower-class background will forever prevent him from marrying Miranda. This realization leads him to attempt to move on from his infatuation with Miranda.
In an attempt to redirect his desires, Frederick delves into the world of pornography, consuming explicit magazines and secretly capturing photographs of couples engaged in various sexual activities during his butterfly hunting excursions. He even hires a sex worker, but his anxiety overcomes him, hindering him from engaging in any intimate acts. This experience leaves him feeling both angry and tainted.
During this time, Annie and Mabel embark on a trip to Australia, leaving Frederick alone in London. He seizes the opportunity to purchase the pornographic books he previously felt hesitant to acquire in the presence of his aunt. He also plans to embark on a journey throughout the UK in a camper van, devoted to collecting rare butterflies.
As Frederick plans his upcoming journey, he comes to the realization that his feelings for Miranda are still strong. He manages to locate her in London and resumes his habit of secretly following her. He finds solace in observing her interactions with cashiers, noticing that she does not display any condescending behavior towards individuals from lower social classes. Consumed by his unrequited love for her, he entertains
the idea of kidnapping her in an attempt to make her fall in love with him.
In his quest for an escape from the bustling city life, Frederick stumbles upon a real estate advertisement for a 300-year-old cottage near Lewes, a town located two hours away from London. Intrigued by the promise of seclusion, he decides to visit the cottage and ends up purchasing it. The cottage presents him with a hidden cellar, one section of which resembles a chapel. Excited about the possibilities, Frederick starts renovating the cottage.
While Frederick denies that his original intention was to imprison Miranda, he transforms the chapel-like room intoa bedroom specially designed for her. He decorates it with novels, art books, and even adds a cheerful orange carpet. To ensure security, Frederick installs a reinforced door that locks from the outside and takes numerous precautions to prevent any potential escapes. Embracing this project gives him a sense of self-worth, as he believes that dedicating his life to Miranda puts him on par with any other man.
After completing the preparations in the room, Frederick closely follows Miranda's movements in London in order to understand her daily routine. His plan involves using the chloroform that he usually keeps for his butterfly preservation purposes to render Miranda unconscious. Over a period of two weeks, he carefully positions himself along the path Miranda takes to return home. When she passes by, he entices her to come to the back of his van by fabricating a story about an injured dog. Taking advantage of the situation, he swiftly knocks her out and secures her restraints.
Frederick then drives to the cottage, bringing Miranda along with him. Upon their arrival, he locks her inside the designated cell and provides her with a meal, assuring her of his return the next morning. In this moment, Frederick experiences an overwhelming sense of joy and fulfillment as he finally has Miranda under his control, viewing her as his long-awaited guest: "She was my guest at last and that was all I cared about".
The next morning, Miranda demands her release from Frederick, refusing to show any signs of fear. Her courage surprises and captivates him. Frederick is thrown off balance when Miranda recognizes him as the soccer pools winner whose photo was in the newspaper. He tries to defend himself by claiming he was coerced into the kidnapping, but
Miranda sees through his lies. She accuses him of having sexual motives, a claim he vehemently denies. Instead, he confesses his love for her, insisting that he only wants her as his "guest."
Contrary to Frederick's expectations, Miranda proves herself to be intellectually superior in their conversations, constantly keeping him on the defensive. The following day, Miranda tells Frederick that she could never fall in love with him given their circumstances. She pleads for her freedom, promising to help him if he lets her go. Frederick argues that they could never be friends because of their social status, using it as his explanation for kidnapping her. Miranda protests, asserting that sheis not a snob.
During their interaction, Frederick reveals that his name is Ferdinand, a nickname his uncle Dick gave him. Interestingly, this nickname coincidentally aligns their names with the lovers from Shakespeare's play, The Tempest. When Miranda learns about Frederick's butterfly collection, she compares herself to one of his specimens, trapped and subjected to his scrutiny. Frederick confesses that he would do anything for her, even giving up his passion for collecting butterflies. However, Miranda asserts that she desires a man who does what is morally right, not one who merely caters to her whims.
The next day, Miranda employs a clever ruse to make Frederick kneel down, pushing him away in an attempt to escape. However, her efforts are in vain as she discovers that the outer cellar door is locked. She cries out for help, desperately pleading through the door, but Frederick manages to overpower her and forces her back into her prison.
In the following days, Miranda adopts a silent and self-imposed hunger strike. Eventually, she negotiates the terms of her captivity with Frederick. In exchange for her compliance, he agrees to allow her to take baths and spend some time outside. He also promises to provide her with a record player and art supplies. Furthermore, Frederick assures her that after a month, he will release her. He becomes excited at the thought of introducing her to his cottage during her bathing sessions.
Time passes, and Frederick brings Miranda her meals three times a day while she remains confined to her cell. To maintain control over her and ensure she remains fixated on him, he denies her access to the news, a tactic he learned from a book about Gestapo torture. The newspaper reports on Miranda's disappearance, and this knowledge gives Frederick a sense of power, as he holds the secret of her
kidnapping.
Once the window in the bathroom is sealed off by Frederick, he escorts Miranda, who is bound and gagged, into the bathroom for a bath. Afterward, she manages to convince him to remove the gag, promising not to make any noise. Intrigued by her beautiful long hair, Frederick allows her to freely roam around the cottage. As she explores, she criticizes his tasteless decorations and proceeds to break some ornamental plates. Sarcastically, Frederick thanks her for her actions. Miranda expresses her desire to see his butterfly collection, which she finds disheartening, as Frederick has stolen their beautyfrom the world for his personal enjoyment. She also expresses dislike for his photographs, arguing that drawing is superior to photography. According to her, drawing brings things to life, whereas photography captures their deathly stillness.
Returning to the cellar, Frederick angers Miranda with a cliché phrase about pouring tea. In response, she curses at him, using swear words that shock him so deeply that he chooses not to include them in the text.
Several days pass, and Miranda agrees to let Frederick photograph her while she reads. She then proceeds to draw a portrait of him, but immediately destroys it, remarking that capturing his essence is challenging due to his lack of distinct features. She tells him that she perceives him more as an object than as a person. Reflecting on their relationship, Frederick realizes that despite Miranda's vocal opposition to snobbishness, their class differences set them apart. While she may not embody the snobbishness of the bourgeoisie, she frequently condescends to Frederick for being uncultured. She instructs him to stop fixating on class, which Frederick finds hypocritical, comparing it to a wealthy person telling a poor person to stop thinking about money.
In response to her request, Frederick accompanies Miranda for a stroll in the garden under the cover of night. Despite her being gagged, he expresses his happiness and desire to kiss her. Frederick acknowledges that he may not articulate his emotions in the same refined manner as Miranda does, but he assures her of his profound love for her.
Upon returning to the cellar, Miranda confides in Frederick, stating that if he were to force himself upon her, she wouldn't resist physically, but it would irreversibly damage her respect for him. In a state of embarrassment, Frederick blushes and apologizes for his desire to kiss her, realizing the potential implications it could have on their
relationship.
Frederick perceives himself and Miranda as a secluded pair, as if they were the only two individuals in existence. At times, it seems that Miranda is the only person besides his uncle who truly comprehends him. One day, they sit side by side on Miranda's bed, engrossed in an art book. Miranda encourages Frederick to unwind and unknowingly brushes her sleeve against his. In such moments, Frederick is led to believe that Miranda may not mind their captivity.
However, there are instances when Miranda openly expresses her anger. She belittles Frederick's narrow-mindedness, likening him to Caliban, thesavage and uncivilized character from The Tempest. Frederick attributes his shortcomings to the lack of opportunities that Miranda has enjoyed. In response, she rebukes him for adopting a defeatist attitude, urging him to utilize his newfound wealth to overcome his past. Miranda resents how Frederick consistently positions himself as inferior, stating, "I always seem to end up by talking down to you. I hate it. It's you. You always squirm one step lower than I can go".
Miranda makes multiple attempts to escape their confinement. She attempts to tunnel her way out, only to realize the futility of her efforts. On one occasion, she feigns appendicitis, tricking Frederick into seeking a doctor. However, Frederick becomes suspicious and waits outside the house, intercepting Miranda as she tries to run away. Another time, she requests Frederick to write a letter to her parents, assuring them of her well-being, and secretly includes a distress note in the envelope. When Frederick discovers the hidden message, he becomes sullen and feels a sense of betrayal that lingers for days.
Towards the end of the agreed-upon four-week period, Miranda requests to have a celebration to mark her release. Frederick agrees, but unbeknownst to Miranda, he has no intention of setting her free. In anticipation of her rejection, Frederick purchases a wedding ring, intending to use her refusal as a pretext to continue keeping her captive.
Miranda prepares for the party by adorning herself with makeup, French perfume, and a cocktail dress, all of which Frederick had purchased for her at her request. Her beauty overwhelms Frederick, evoking a conflicting mix of emotions. He compares it to the feeling of watching a butterfly emerge, only to realize he must destroy it. The beauty confuses him, leaving him uncertain about what he wants to do and what he should do.
As they gather upstairs, Miranda commends Frederick for how he has arranged the cottage for their party. They indulge in sherry, and Frederick presents Miranda with a necklace adorned with diamonds and sapphires. The gift unsettles her, prompting her to inform Frederick that she will return it the next day when he finally releases her. They listen to music, engage in charades, and Miranda attempts to teach Frederick how to dance.
Miranda makes a promise to Frederick, assuring him that if he were to relocate to London, she would transform him into a modern and fascinating person. However, deep down, both of themknow that they are deceiving each other. Sensing that the evening is taking a troubling turn, Frederick decides to propose to Miranda. She responds by explaining that she cannot marry him because she does not love him. In an effort to convince her otherwise, Frederick presents his case for marriage, but then he abruptly reveals that he cannot release her.
A sudden turn of events occurs when Miranda kicks a burning log from the fireplace onto the carpet and rushes to the front door, only to discover that it is secured with a padlock. In his desperation, Frederick strikes her, causing her to lose consciousness from the effects of chloroform. He then carries her back to her confinement, where he undresses her down to her underwear and takes photographs of her while she remains unconscious.
After her failed escape attempt, Miranda plunges into a state of silence and fasting, leaving Frederick filled with despair. However, after a few days, she eventually breaks her silence and makes a simple request for a bath. Frederick is overwhelmed with relief at the sound of her voice and agrees to her request. While in the cottage, Miranda deliberately causes herself to trip. Seizing the opportunity, Frederick leans down to retrieve her belongings, only to be struck on the head twice by a small axe that he had carelessly left within reach. Despite feeling disoriented from the attack, Frederick manages to disarm Miranda and forcefully returns her to her cell. Reflecting on the incident, he realizes that if he hadn't been affected by the blow, he would have retaliated.
The next day, Miranda apologizes to Frederick and expresses gratitude for his restraint in not seeking revenge. She tends to the gash on his temple, displaying care that makes him believe the wound was worthwhile. Miranda then presses Frederick to reveal his true intentions regarding her. In a desperate attempt, she proposes the idea of being
released if she were to engage in a sexual relationship with him. In response, Frederick coldly remarks that he could easily find paid companionship in London. Filled with desperation, Miranda asks for some time alone in the cottage, hopelessly trying to seduce him into setting her free.
Frederick takes meticulous precautions to rid the cottage of any potential weapons, while also ensuring a comfortable environment by lighting a fire and preparing food. He then brings Miranda upstairs. As the evening progresses, Miranda becomes intoxicatedand initiates a kiss with Frederick. Subsequently, she proceeds to undress herself. However, Frederick is overwhelmed by a deep sense of shame upon seeing her naked and tries to object, insisting that she doesn't genuinely like him. Ignoring his protests, Miranda proceeds to undress him as well.
Amidst his conflicting emotions, Frederick's inability to achieve an erection due to his chaotic feelings frustrates him. He yearns to appear virile, yet also desires to assert his superiority by rejecting sexual activity: "I wanted to demonstrate my capability, so as to prove my respectfulness. I hoped she would witness my ability and then I would inform her that I wouldn't continue, as it was beneath me and beneath her, something repulsive".
Their encounter leaves Frederick seething with anger towards himself and harboring resentment towards Miranda for failing to comprehend his aversion towards sex. As the night progresses, Frederick succumbs to masturbating while looking at the photographs of Miranda in her underwear that he had previously claimed to refrain from out of respect.
The next day, Miranda presents Frederick with an ultimatum. She insists that unless he moves her to a room upstairs in the cottage, she will resort to starving herself to death. The unbearable conditions in the cellar, characterized by stagnant air and darkness, have pushed her to her limits. Frederick understands the gravity of Miranda's threat, aware that once she is upstairs, she will attempt to escape. In a bid to buy himself some time, Frederick agrees to Miranda's demand, although his true intentions remain ominous. He cryptically alludes to something he believes he can do when the time is right.
On the agreed-upon day of Miranda's relocation upstairs, Frederick demands that she allow him to take nude photographs of her, ostensibly as a form of leverage in case she manages to escape. When Miranda refuses, Frederick degrades her by implying that she has already
debased herself through her previous attempts to seduce him. In response, Miranda unleashes her anger, shouting at Frederick to leave while labeling him a "dirty little masturbating worm." She even threatens him with harm.
A contagious Frederick ends up infecting Miranda with a cold, and as the days pass, her health deteriorates. This angers Frederick, who believes that Miranda is exaggerating her symptoms. Provoked by one of Miranda's customary insults, Frederick decides to take control. He binds her, strips her naked, and compels her to pose for photographs. These imagesprovide him with a sense of pleasure, as he derives satisfaction from punishing her for the weeks during which he acted subserviently towards her.
As Miranda's condition worsens, she pleads with Frederick to remove her from the cellar's stagnant air and seek medical assistance, suspecting that she might have pneumonia. However, Frederick dismisses her concerns, claiming that her illness is not severe, and instead offers her cold medication. The next day, Miranda's breathing becomes difficult, and she experiences moments of unconsciousness. Frederick remains by her side throughout the day, until night falls and her condition seems to improve, eventually falling asleep.
Several days later, Frederick alludes to Miranda's demise, defending himself by arguing that he cannot be held responsible for her death as he was unaware of the seriousness of her illness.
A week after being abducted, Miranda finds solace in keeping a secret diary amidst the confines of her claustrophobic cell. Writing provides her with a means of escape from her dire circumstances. In her first diary entry, she contemplates the possibility of escape and laments the fact that neither her parents nor her friends have any knowledge of her whereabouts. Above all, she tries to unravel Frederick's true intentions, as she struggles to understand why he chose to kidnap her if his motives do not involve sexual intentions. Frederick, whom Miranda mistakenly believes to be named Ferdinand, becomes visibly flustered whenever she brings up topics related to sex or catches him in a lie. His demeanor, clothing choices, and manner of speech seem contrived, as if he is attempting to imitate a person of higher social class while being
inherently working-class. Despite his outwardly polite and subservient behavior, there is an underlying sense of discontent in Frederick's appearance, as if he constantly carries the burden of his false humility. Miranda observes a peculiar madness in Frederick's eyes, which exhibit a lost and haunting gray light. Upon discovering that Frederick is an atheist, Miranda finds herself yearning to believe in a higher power, and she begins to pray fervently each day, seeking deliverance from her captivity.
Frederick has a profound impact on Miranda, prompting her to constantly react against him. She feels compelled to challenge and dazzle him, to leave him bewildered and speechless. Miranda's imprisonment deprives her of any meaningful human interaction, to the extent that she starts seeking Frederick's company even after their meals. The fact that Frederick refrains fromphysically assaulting or violating her creates a sense of indebtedness within Miranda, although she resents being forced into this position of gratitude. In an attempt to distance herself from Frederick's influence, Miranda starts referring to him as "Caliban," a symbol of everything uncivilized and contrary to her own values. Despite the debasing influence of Frederick, Miranda maintains her sense of superiority based on social class, acknowledging that this may sound conceited, but firmly believing in her own elevated status.
Miranda begins documenting her conversations with Frederick in the form of theatrical dialogues, adding some embellishments to more accurately convey her thoughts and opinions. In one such dialogue, she criticizes Frederick for his lack of opinion on nuclear disarmament and his apparent indifference towards supporting such causes. Miranda accuses him of prioritizing his own interests over the greater good. On the other hand, Frederick dismisses his opinions and actions as inconsequential due to his working-class background, believing that nobody cares about the thoughts of people like him. Miranda rebukes his defeatist mindset, asserting that now that he is wealthy, he is just as worthy as anyone else, regardless of his social status. However, Frederick remains unconvinced, stating that money hasn't changed the way people treat him. Despite this, Miranda successfully convinces Frederick to contribute funds to a nuclear disarmament campaign she is involved with, but he ultimately fails to follow through with his commitment.
After two weeks of imprisonment, Frederick finally allows Miranda to go outside, but only under strict restraints. She can sense his desire to kiss her or possibly engage in something worse. Helpless and unable to defend herself due to the constraints imposed upon her, Miranda's vulnerability becomes apparent. The passing car and the airplane overhead serve as reminders of the proximity of other people, highlighting the ease with which one can remain oblivious to the suffering of others. In this state of isolation, Miranda feels that Frederick is the only person who truly exists in her limited world.
Miranda's thoughts are consumed by a painter named George Paston, whom she refers to as G.P. Her feelings towards George are complex and conflicting. On one hand, she wishes he was closer to her age and finds him physically unattractive, even expressing bigotry by using anti-Semitic terms to describe his appearance. At the same time, she admires his opinions and his unwavering passion for art.
After meeting George, Miranda's perspective on life andart undergoes a significant transformation. She internalizes his worldview and artistic sensibility, even going as far as creating a list of seven rules for making art based on his teachings. George's influence on Miranda is profound, as he manages to strip away her foolishness and naive ideas about life and art, including her penchant for frivolity. She credits George for introducing her to the concept of "fey" women, leading her to fear becoming one herself. Miranda rejects the idea of becoming a traditional housewife like her mother or a superficial dilettante like her aunt Caroline. Instead, she aspires to create meaningful art but worries about succumbing to the complacency of bourgeois society.
Revisiting memories of George provides Miranda with a form of escape. She takes pleasure in reminiscing about her unique intellectual abilities, which set her apart from her friends. Miranda also finds solace in indulging in luxurious food, such as caviar, that she orders from Frederick. Another way she seeks refuge is by removing the tacky decorations from the cottage, as being in the upstairs area gives her a sense of freedom.
Miranda engages in a dialogue with Frederick, discussing literature and lepidoptery(the study of butterflies and moths). She criticizes Frederick for his preference for pulp fiction and recommends that he reads J.D. Salinger's The Catcher in the Rye. She discovers that Frederick developed an interest in lepidoptery because of a close relationship with
one of his teachers, and he appreciates how naturalists treat him without condescension. However, Miranda abruptly ends the conversation, expressing disdain for appearing to care about Frederick and his seemingly unhappy life. She also dislikes the scripted nature of their exchanges, feeling as if she is merely reciting lines from a play.
Two weeks into her confinement, Miranda becomes overwhelmed with despair. She feels physically weak and emotionally drained. In an attempt to regain a sense of control, she devises a plan to send Frederick on errands for a day, allowing her to dig a tunnel around the reinforced door in hopes of escaping her confinement.
Miranda reminisces about the time her aunt Caroline introduced her to George at an art museum. She was embarrassed by Caroline's affected mannerisms, as they irritated George. However, when Miranda unexpectedly ran into George again a few days later, she eagerly accepted his invitation to visit him. At his apartment, he played Indian music and sat in silence for 20 minutes, adopting arelaxed pose on a divan. He then showed her his studio, which had a cluttered but authentic artistic atmosphere that Miranda found charming. Over the following weeks, George introduced Miranda to a vibrant world of people and ideas, a refreshing change from the affected coolness of her art student friends. Caroline, on the other hand, cautioned Miranda about George's reputation as a womanizer.
When Miranda shared her own artwork with George, he criticized it, claiming it was mere reproduction through photography rather than true creative painting. Despite George's sexist and belittling comments suggesting that Miranda's beauty was better suited for love than art, she valued his opinions on art as absolute truths. Miranda appreciated that George challenged the conventional and stifling bourgeois ideas prevalent in England.
Frederick embodies the same rigid and conventional mindset as the bourgeoisie. He strives to emulate the manners and behaviors of individuals like Miranda's parents, but only manages to imitate a second-rate version of their demeanor, which can be described as superficial gentility. Miranda strongly criticizes Frederick and others belonging to his social class, referring to them as "the burdensome remnants of England's narrow-mindedness".
The luxuries and comforts that Frederick offers have a seductive allure, tempting Miranda with the possibilities of a world that could be hers.
However, she is aware that accepting these gifts would mean surrendering herself to him, perceiving him as some sort of devilish figure. Despite this internal conflict, Miranda finds pleasure in Frederick's daily presents and floral arrangements, as they give her a sense of constant celebration, reminiscent of Christmas. At the same time, she secretly gathers makeshift tools, intending to use them to dig her way out, hoping for an eventual escape from her current circumstances.
Miranda acknowledges and recognizes George's flaws. She acknowledges that his artwork lacked originality, as it was heavily influenced by others. She also criticizes him for prioritizing intellect over emotion and for dismissing abstract art, despite Miranda finding beauty in some abstract paintings. Additionally, George's promiscuity is something that Miranda despises. To her, promiscuity implies engaging in sexual activities without genuine love and connection. When Miranda declined George's advance during their tea encounter, he made derogatory remarks about women, referring to them as a "disease". The next day, he sent her a beautiful drawing of the tea set, with the dedication on the back emphasizing "une princesse lointaine," and the word "une" was heavily underlined. Miranda sensed thatGeorge wanted her to reject him in order to prove her purity. In the following weeks, George continued to hint at the possibility of a sexual relationship between them.
However, Miranda went on a vacation, and several months passed before she saw George again. Upon reuniting, George expressed his desire to marry her, but since she did not reciprocate his love, he decided to cut off contact with her. Miranda left his apartment feeling thrilled by the idea of George's unrequited love for her, convinced that she did not love him. However, her conviction began to waver as she documented her thoughts in her diary. She daydreamed about being in a romantic relationship with George, picturing them in beautiful and enchanting settings. But her fantasy quickly turned to despair as she foresaw George's inevitable betrayals and infidelities.
Miranda inquires Frederick to provide her with further details about his family, recording their conversation in a manner reminiscent of a theatrical dialogue. In doing so, she draws a parallel between his upbringing and that of the character Pip, who was an orphan enduring mistreatment from the character Mrs. Joe in Charles Dickens's novel, Great Expectations. However, Frederick is unaware of this literary
reference. As the conversation progresses, Miranda undermines Frederick's self-esteem by constantly correcting his grammar. In response, Frederick defends himself by stating that others typically praise his command of the English language.
At Miranda's request, Frederick reads aloud a letter from his Aunt Annie, who expresses concerns about his potential recklessness with money and warns him about young women who may only be interested in his wealth. Miranda criticizes Annie for her negative mindset, referring to it as "nasty"(170). In response, Frederick defends Annie by highlighting that she adopted him. He argues that Miranda is actually more controlling than Annie, accusing her of trying to shape his thoughts and opinions to align with her own. Frederick expresses fear of being left with no one once Miranda eventually departs from his life. Irritated by his words, Miranda tells him to be quiet.
Realizing that she has hurt Frederick's feelings, Miranda attempts to make amends by inventing a fairy tale. She narrates a story about a princess being imprisoned by a monster. In her efforts to help the monster become attractive, the monster reveals a preference for remaining ugly. However, the princess assures the monster that if he sets her free, he will transform into a handsomeprince. They subsequently live happily ever after. Miranda then asks Frederick to share his own fairy tale, to which he simply responds that he loves her. Recognizing the dignity present in his heartfelt declaration, Miranda feels remorseful for being unkind to him.
Miranda carefully plans her attempts to escape in order to regain Frederick's trust. However, she notices a concerning pattern after each attempt: Frederick becomes increasingly hostile and prone to violence. She realizes that when she tries to assert her independence, he despises her. In his eyes, she is meant to remain passive and beautiful, trapped like a specimen.
To ease her own distress and notify her parents of her situation, Miranda convinces Frederick to send a letter assuring them of her well-being. Unbeknownst to Frederick, she discreetly includes a small distress note within the envelope, revealing her fear and desperation. Despite her efforts, both her escape tunnel and her attempt to feign appendicitis fail. Growing frustrated, Miranda starts referring to Frederick as the Old Man of the Sea, alluding to the Greek mythological figure who deceives travelers into carrying him on their backs until their death.
In a heated conversation reminiscent of a play, Frederick and Miranda clash over their interpretations of The Catcher in the Rye. Frederick believes that Holden, the protagonist, has no reason to be disillusioned since he comes from a privileged background. Miranda defends the book's significance, insisting that it is an exceptional exploration of adolescent psychology. In Miranda's perspective, Frederick's disregard for the book symbolizes the ignorance displayed by what George refers to as "the New People" - individuals with money, cars, and a shallow imitation of the bourgeoisie lifestyle.
Confined within Frederick's prison, Miranda perceives herself as a martyr in the ongoing cultural battle against the influx of New People represented by Frederick. In her eyes, individuals like Frederick who belong to this new class lack the deservingness of wealth because they lack the knowledge of how to utilize it effectively. She shares George's belief that the presence of money strips the impoverished of their moral integrity. Miranda implores Frederick to donate his wealth to charitable causes. In her view, his refusal serves as a glaring embodiment of the cynicism commonly found among the New People, who employ their pervasive distrust of others as a justification for their self-centeredness.
As time goes by, Miranda realizes that her interactions with Frederick become increasingly ordinary and unremarkable. Asthe sole individual she encounters on a regular basis, Frederick becomes her new sense of normalcy. Miranda feels as if she is stranded on a desolate island, figuratively shipwrecked with him.
After Frederick reneges on his promise to release Miranda within the agreed-upon four weeks, she embarks on a hunger strike lasting five days, during which she refrains from documenting her experiences in her journal. The fact that Frederick did not sexually assault her after administering the chloroform offers Miranda a mixed sense of relief and bewilderment. She perceives him not as a human being, but rather as a vacant void masquerading as one.
Miranda harbors a deep disdain for Frederick's all-encompassing hatred towards individuals and concepts beyond his social class, a sentiment commonplace among the New People. However, she acknowledges that Frederick does not conform to the typical mold of a New Person. Unlike the majority of them, who exhibit a lack of passion, Frederick has the capacity for unwavering love.
Determining to cease her amicable demeanor towards Frederick,
Miranda adopts a militant approach, viewing their relationship as that of a prisoner and captor. Nevertheless, Miranda finds it challenging to maintain a consistently cold attitude, as hatred is not inherent to her nature, inevitably leading her to feel pity for Frederick. When she gains possession of the ax he carelessly leaves within reach, she cannot bring herself to strike him with a force sufficient to end his life. While revisiting The Tempest, Miranda discovers a newfound compassion for Caliban.
Miranda alters her approach, believing that she can only escape by disarming Frederick emotionally and teaching him to improve himself. She realizes that resorting to violence would only lower herself to Frederick's level and sacrifice her own superiority. As a result, she starts referring to Frederick as "Ferdinand" instead of "Caliban," a more affectionate term.
But soon, Miranda understands that simply sympathizing with Frederick is not enough. Despite her belief in the sanctity of sex and her reluctance to engage in it without love, she decides to make a strategic sacrifice: she plans to seduce Frederick in order to secure her freedom. While she intends to draw the line at sexual intercourse, she is willing to let him do anything else to her. She regrets her lack of experience in seduction, wishing she weren't a virgin.
Contrary to her expectations, Frederick's lack of arousal and inability to have an erection confuse Miranda. She sees his non-arousalas a mix of childlike innocence and selfishness, as desire is an essential aspect of being a man in her eyes. Miranda's attempt to seduce Frederick triggers a deep, typically male anger in him. This experience leads her to lament how men sulk if they don't get what they want and hate you when they do.
Miranda's failed seduction shatters her confidence in her overall superiority. She realizes that she has always assumed she knew more, felt more, and understood more, but she now recognizes her own limitations. She acknowledges that she lacks the skills to handle Frederick and that she is the one who needs to learn and grow emotionally.
In the days that followed her failed attempt at seduction, Miranda starts to have daydreams about engaging in a sexual relationship with George. She begins to realize that even though love may not be present, sex can still be a beautiful experience. What she finds truly ugly is the complete absence of love and connection between herself and Frederick,
which she describes as "frozen, lifeless, and devoid of any affection."
Driven by her new perspective, Miranda decides that she wants to marry George, believing that she will be able to endure any betrayals he might inflict upon her because women have the strength to withstand cruelty. She reaches a conclusion that once she gains her freedom, she will no longer continue journaling because she has come to understand that she only writes what she wants to hear, rather than facing the harsh truths of her experiences.
As Miranda's health worsens, she falls into despair. She directs her frustration and anger towards Frederick for denying her access to a doctor and for subjecting her to confinement in the oppressive cellar. When Frederick coerces her into posing for naked photographs, Miranda perceives his true intentions beneath the veneer of politeness - he has always aimed to degrade and destroy her. She curses both Frederick and God, feeling disillusioned by the selfishness she has witnessed in people.
As her illness progresses, Miranda's journal entries become briefer. In her final lines, she pleads with God to spare her life, desperately hoping to overcome her dire situation and survive.
When Frederick comes back to the cellar, Miranda is even sicker than the previous night. Miranda is filled with fear of death. Frederick avoids answering her questions about what he will do if she doesn't make it. Her temperature risesto 104 degrees, causing her to become delirious. In her delirium, Miranda expresses forgiveness towards Frederick. This unexpected display of forgiveness dissolves Frederick's bitterness towards her, and he starts reminiscing about the happy times they spent together before Miranda's ill-fated attempt to seduce him. Miranda's delirium leads her to call out for George, her sister Minny, and her mother, perhaps longing for their comfort and support in her desperate state.
After delaying seeking medical help for several days, Frederick decides to drive to a doctor's office in Lewes. However, when he enters the waiting room, he senses suspicious looks from the other people there. Upon realizing that the doctor is a retired army officer, someone Frederick perceives as distant and unapproachable, he decides to leave.
This encounter with other people for the first time in months serves as a reminder to Frederick that Miranda is the only person he genuinely likes and cares about. He visits a few pharmacies in search of stronger medications, only to discover that he already possesses the most potent ones available. Returning to the cellar, he assures Miranda that a doctor is on the way.
Feeling exhausted from lack of sleep, Frederick leaves to take a short nap. However, he ends up oversleeping, and upon his return, he finds Miranda in an even more delirious state, having stripped off her clothes due to her high fever. Concerned for her well-being, Frederick decides to move her upstairs to a spare room in the cottage. Despite her weakened condition, Miranda continues to ask for a doctor, and Frederick reassures her once again that help is on its way. However, he harbors a fear that Miranda might attempt to escape, despite her current state of illness.
Instead of immediately returning to the doctor's office, Frederick hesitates until the late hours of 1:30 am. As he stands on the empty street outside the doctor's house, he struggles to gather the courage to ring the doorbell. Before he can make a move, a police officer approaches his car window, takes down his information, and instructs him to leave the area. Feeling defeated, Frederick heads back to his cottage with a vague plan to bring Miranda to the hospital and then escape the country.
Upon reaching the cottage, Frederick is faced with the heartbreaking sight of Miranda, who is on the verge of death. In an attempt to comfort her, he repeats his reassurance thata doctor will arrive soon. Frederick realizes that he is trapped in a difficult situation, torn between the options of imprisonment or losing the only woman he has ever loved.
Miranda dies the following day:
Well, it dawned, the last day came. Strange, it was a beauty, I don't believe there was a cloud all day, one of those cold winter days when there's no wind and the sky is very blue. It seemed specially arranged, most appropriate, seeing she passed away so peaceful.
As the sun begins to set, Miranda takes her final breath while Frederick is busily cleaning downstairs. Tenderly, Frederick carries Miranda's lifeless body and lays her back in her bed in the cellar. He takes the time to arrange her body with care, taking a lock of her hair as a memento. Overwhelmed with emotions, Frederick offers a prayer for Miranda's departed soul and locks the door behind him, as if protecting her even in
death.
In this poignant moment, Frederick finds it within himself to forgive Miranda for her ill-fated attempt to seduce him. Memories flood his mind as he recalls the first time he laid his eyes on her, acknowledging that from that moment on, the unpredictability of destiny had conspired to thwart his happiness:
It's luck. It's like the pools - worse, there aren't even good teams and bad teams and likely draws. You can't ever tell how it will turn out. Just A versus B, C versus D, and nobody knows what A and B and C and D are. That's why I never believed in God. I think we are just insects, we live a bit and then die and that's the lot. There's no mercy in things. There's not even a Great Beyond. There's nothing
In the dead of night, Frederick descends into the dimly lit cellar, his heart heavy with doubt. Half-expecting to find Miranda's lifeless body vanished, he struggles to come to terms with the reality of her death. As he stands there, a flicker of movement in the corner of Miranda's cell startles him, sending a shiver down his spine. It seems as if a phantom presence haunts the space, exacerbating Frederick's disbelief.
In that haunting moment, Frederick contemplates the hardships of life that Miranda is now free from. He sees her passing as a release from the burdens and struggles that plagued her existence. In his mind, she is fortunate to haveescaped the worries, hiding, and unfulfilled dreams that come with being alive.
Overwhelmed by grief and the fear of being labeled a kidnapper, Frederick reaches a fateful decision. He believes that the only way to avoid tarnishing Miranda's memory is to take his own life. He meticulously plans to destroy any traces of their shared moments by burning his cherished photographs of Miranda. Alongside this act, he intends to send a letter to the police, confessing their love and claiming that, like Romeo and Juliet, they had made a suicide pact.
Before his final moments arrive, Frederick wishes to have one last glimpse of the beautiful butterflies he had collected, drawing comfort in their ephemeral beauty. He resigns himself to lying down beside Miranda's lifeless form, resolving to ingest a fatal dose of aspirin, emulating their tragic love story through their shared demise.
As Frederick awakes to a serene day in the countryside, his emotions begin to shift. The weight of his previous thoughts and intentions fade, replaced by a new sense of clarity. As he sits down for breakfast, his mind drifts towards the question of what to do with Miranda's body. Yet, this time, his perspective takes a different turn. He convinces himself that he hasn't committed any crime since Miranda's death was a result of natural causes.
Driven by this newfound outlook, Frederick embarks on a journey to Lewes. There, he purchases flowers and the pills he had previously intended to use for his own demise. In the midst of his errands, he unexpectedly encounters a girl who bears a resemblance to Miranda. Intrigued, he follows her and discovers that she works behind the sweets counter at a local drugstore.
Returning to the cottage, Frederick tenderly arranges the flowers on Miranda's bed, his demeanor evolving further. It dawns on him that the desire to end his own life has waned. In a pivotal moment, he stumbles upon Miranda's diary, which solidifies his resolution. Through its pages, he learns the harsh truth that Miranda never reciprocated his love, instead harboring feelings for George alone.
Empowered by this revelation, Frederick sets out to confront the realities of dealing with Miranda's body. He diligently constructs a coffin and spends three arduous days digging a grave beneath the apple trees in his backyard. Despite his distaste for the sight and touch of the decomposing corpse, he commends his own fortitude. Wrapping Miranda's remains ina blanket to mitigate his discomfort, he skillfully buries her alone, successfully navigating the logistical challenges that such a solemn task presents.
Several weeks go by, and a letter from Annie reveals that she and Mabel have decided to extend their stay in Australia. This unexpected news triggers a chain of unsettling thoughts in Frederick's mind, leading him to contemplate the idea of kidnapping Marian, the clerk from the drugstore. While his feelings for Marian don't match the intensity he had for Miranda - Marian lacks the same level of physical beauty - Frederick believes that her ordinary nature would be a better match for him. He reflects, "I should have realized that I could never attain what I desired from someone like Miranda, with all her fancy ideas and clever maneuvers. I need someone who will hold me in higher regard, someone ordinary whom I can mold and educate".
Frederick insists that this idea is not to be taken seriously, even as he obsessively shadows Marian and prepares a hidden cellar in anticipation of his plan.