essay about lamb to the slaughter

A Summary and Analysis of Roald Dahl’s ‘Lamb to the Slaughter’

By Dr Oliver Tearle (Loughborough University)

‘Lamb to the Slaughter’ is a 1953 short story by Roald Dahl (1916-90), which was initially rejected for publication but was later adapted for television on several occasions. Included in Dahl’s collections Someone Like You (1953) and Tales of the Unexpected (1979), the story is about a wife who murders her unfaithful husband with a frozen leg of lamb before hatching a plan to ensure she isn’t caught for her crime.

Before we offer an analysis of ‘Lamb to the Slaughter’, it might be worth recapping the plot of Dahl’s story.

Plot summary

Mary Maloney is waiting at home for her husband, Patrick, to get home from work. He is a detective. She is six months pregnant with their child. When he gets home, she pours them both a drink and notices that Patrick has drained his glass more swiftly than he usually does. He pours himself another whisky before revealing to his wife that he plans to leave her.

Mary is stunned by this revelation, and initially wants to act as though it hasn’t happened. She decides to go and get some food from the freezer that she can cook for their dinner. She finds a leg of lamb in the freezer, and when her husband announces he’s going out, she strikes him on the back of the head with the lamb leg, killing him.

Immediately she starts to think about how to cover her tracks so she won’t be caught. She puts the meat in the oven to cook. After rehearsing what she will say to the nearby grocer, she goes out to his shop and buys some potatoes and peas to go with the roast lamb. When talking to the grocer, Sam, she acts as though everything is all right and her husband is waiting for her back home.

When she returns home, she talks herself into believing her husband is still alive, so she is genuinely shocked when she sees his body lying on the floor. She phones the police to report that he has been murdered, and a group of detectives – who knew Patrick from work – show up to investigate his death.

The detectives make a thorough search of the house, believing that Patrick was murdered by a heavy metal implement. So they search for something that could have been used as the murder weapon. They remain in the house for so long that Mary offers them all a drink. They reluctantly accept and, when she is reminded of the lamb cooking in the oven, she suggests that they eat it since they must be hungry.

Again, they agree, and as they sit around the table eating the leg of lamb which killed their former colleague, they remain oblivious to the fact that they are, in fact, destroying the evidence themselves. In the next room, Mary giggles.

Dahl’s story was suggested by his friend Ian Fleming, who created James Bond. Dahl adapted Fleming’s Bond novel You Only Live Twice for the big screen; he also co-wrote the screenplay for the film Chitty Chitty Bang Bang , which was also based on a Fleming novel. And it was Fleming who suggested the idea for ‘Lamb to the Slaughter’, telling his friend that he should write a story about a woman who murders her wife with a leg of mutton (not lamb) which she then serves to the investigating officers.

‘Lamb to the Slaughter’ can be categorised as a horror story (although given the lack of any supernatural element, ‘thriller’ is perhaps a more apposite label), although we should also pay attention to the darkly humorous elements of the tale: features in keeping with Dahl’s writing as a whole.

The story reflects – but then subverts – a common trope of the early 1950s: namely, the wife as the faithful homemaker while the husband goes out to work. At the beginning of ‘Lamb to the Slaughter’, Mary Maloney cannot do enough for her husband, waiting patiently and eagerly for him to arrive home, fetching his drink, asking him about his day.

But when the stability of her world crumbles in a few minutes, when Patrick tells her that he is leaving her (although it isn’t mentioned, we assume he has met someone else), she changes very quickly – and easily – from dutiful wife to cold-blooded murderer.

In other words, once the role she has settled into over the years, that of being ‘Mrs Patrick Maloney’, is taken away from her, she finds herself able to switch in and out of that role with ease. After a brief rehearsal at home, she is able to convince the grocer that she is still the dutiful wife once again: an act she performs again for the policemen.

Dahl makes it clear that she doesn’t murder her husband out of fear of being penniless without the money from him, the breadwinner of the family: he makes it clear he will continue to provide for her financially. Instead, her motive is more complex. Does she kill him out of jealousy or spite, or resentment at having conceived the child of a man who doesn’t even intend to hang around long enough to see it born?

Dahl leaves these questions open for us to discuss. Note how, in the moments preceding that decisive moment when she strikes her husband with the leg of lamb, her movements become automatic, as if she is being guided by some other force. Her unconscious? The concentrated righteous anger of ‘a woman scorned’? Dahl tells us that she ‘simply’ walked up to her husband and struck him with the lamb.

It is as if she is performing some perfunctory task, almost as though the mundane and automatic business of housework has been extrapolated to incorporate the business of murder. She doesn’t appear to lash out in a moment of fury, cold or otherwise. It is almost as if she feels she has no other choice.

There is obviously a grim irony in the method she uses to dispatch her husband. The roast joint cooking in the oven is the symbol par excellence of the good 1950s housewife, feeding her husband after a long day at work. There is also symbolism in the fact that this food, meant to be an offering from wife to husband, is used instead to kill the husband, with the deadly weapon being given instead to a host of other men (who, as policemen, are also stand-ins for the dead husband in some respects).

In the last analysis, then, ‘Lamb to the Slaughter’ is a short story about how easily the meek and loving housewife can transform into a cold and calculating killer. It is Mary’s sudden change that makes the story so unsettling, and the lack of remorse she shows for her crime; but her choice of murder weapon and method of disposing of the evidence make this story as much black comedy as out-and-out horror tale.

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Lamb to the Slaughter

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Welcome to the LitCharts study guide on Roald Dahl's Lamb to the Slaughter . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Lamb to the Slaughter: Introduction

Lamb to the slaughter: plot summary, lamb to the slaughter: detailed summary & analysis, lamb to the slaughter: themes, lamb to the slaughter: quotes, lamb to the slaughter: characters, lamb to the slaughter: symbols, lamb to the slaughter: theme wheel, brief biography of roald dahl.

Historical Context of Lamb to the Slaughter

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• Full Title: Lamb to the Slaughter
• When Published: 1953
• Literary Period: Modernism
• Genre: Short story; black comedy
• Setting: Late 1940s or 1950s, in the Maloney house and a nearby grocery store
• Climax: Mary kills her husband
• Antagonist: Patrick Maloney
• Point of View: Third-person limited

Extra Credit for Lamb to the Slaughter

Inspiration. “Lamb to the Slaughter” was supposedly written by Dahl after his friend Ian Fleming (spy novelist and former intelligence officer) suggested he write a story about a woman who murders her husband with frozen mutton that she serves to the detectives investigating her husband’s case.

Small screen version. The story was adapted into a television script written by Dahl and presented by Alfred Hitchcock. It aired in 1958, five years after the story was originally published.

Lamb To The Slaughter

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Discussion Questions

How does Dahl establish an atmosphere of domestic calm at the opening of the story? What clues does he give that the harmonious mood is soon to be shattered? Make reference to foreshadowing in your answer.

Describe the relationship between Mary and her husband. How does their marriage reflect the values of 1950s society? What is the author’s overall message about traditionally assigned gender roles?

What impression does the reader have of Mary Maloney at the beginning of “Lamb to the Slaughter”? How does that perception change as the story progresses? Cite evidence from the text to support your answer.

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“Lamb to the Slaughter” and “A Jury of Her Peers” Essay

Introduction, mary maloney and minnie foster, the fate of women, the problem of justice, works cited.

Two short stories, Lamb to the Slaughter (1953) by Roald Dahl (1953), and A Jury of Her Peers (1917) by Susan Glaspell, both have a woman who killed her husband as a key part of their plot. However, both stories touch upon the complicated issues that stand behind the fact of murder.

In our essay, we will compare the situations of the two women who committed these crimes, and will see how they were pushed to such an act by the circumstances which made them dependent. We will also discuss the role of gender in these situations and the notion of justice in connection with their deeds.

Mary Maloney, the main character of Lamb to the Slaughter , is a woman whose only role in life is a loving housewife. Caring about her husband seems to be her only aim in life. Yet her world turns into a smoking ruin as her husband notifies her of their forthcoming divorce.

This policeman was not satisfied with a life with an obedient slave; it had apparently turned into an irritating burden for him. “For God’s sake,” he says upon hearing her offer to make a meal after he announced his plans for divorce, “don’t make supper for me. I’m going out” (Dahl par. 41).

The destruction of her world made Mary’s brain “wake up”, leaving her consciously unaware at the same time. Having killed her husband and apparently disbelieving his death, she obliviously makes everything up in a way which would save the child she is pregnant with from being killed along with her when she undergoes the death penalty.

The twistedly ironic way she gets rid of the weapon of murder by feeding it to the detectives doesn’t interfere with her obliviousness until the very last line of the story, when, hearing the policemen talk about the weapon being under their nose, she giggles.

In contrast, Minnie Foster from A Jury of Her Peers does not appear to be satisfied with her life. Even though we never see Mrs. Wright in the story, it is evident that she also plays the role of a housewife, and nothing else. However, her world is much unlike the (apparent) sweet dream of Mary’s.

Her husband is “like a raw wind that gets to the bone” (Glaspell par. 201), a cruel man who would abuse his wife and wrung her bird’s neck to inflict pain on her. Even Mrs. Wright’s house is situated in a hollow from where it is impossible to see the road, hinting at her loneliness. While Mary Maloney, seeing the smoldering ruin her life was turned into, acted suddenly and impulsively, the despair which led Minnie Foster to kill her husband is “honed” over the span of 20 years of their mutual life.

The theme of women’s fate appears to be obvious in both stories. Women, being turned into housewives and having no other way to follow, are trapped in a situation regardless of whether they feel happy or not. A Jury of Her Peers tells a story of an abused woman; the murder makes it stand out, but behind it there hide millions of stories of abused housewiving slaves who never got the chance to let their scream out. The disregard that the men show for the women who came to Minnie Foster’s house shows that such a scream would not be heard in any case.

Lamb to the Slaughter , in contrast, provides an insight into the bonds that even the “happy” only-housewives are subjected to, being entirely dependent on the will (or on a whim) of a single person. Notably, the story also hints at the adversities that the situation has for men, at the boredom and irritation one might face when their every single motion causes a surge of tenderness from a person who never shows any signs of emotions or thoughts other than their persistent love and care.

The issue of justice is also touched upon in both stories. Lamb to the Slaughter shows us a number of injustices that happen after one another; the betrayal, then the murder. Still, however shocking the fact that Mary killed her husband is, the reader is pushed to side with her in this situation.

The murder does not even appear to be revenge; it seems to be some kind of an involuntary act driven by a sudden burst of chemicals into the woman’s brain; her pregnancy came to our mind when we were trying to comprehend her actions. Despite the cruelty and pointlessness of the murder, the punishment that awaits Mary (and the fate of her child) if the woman is to be judged would appear to create even more injustice even if this punishment was not the death penalty.

Similarly, the punishment that awaits Minnie Foster appears unjust whatever it would be. Yes, she is the murderer; but she is also a person who suffered from abuse over the span of 20 years and could do nothing about it. The women in the kitchen could understand a fact that men upstairs apparently wouldn’t even take into consideration – that the murder, even though planned, was an act of self-defense rather than homicide.

As we have seen, both murders are, in fact, very complicated situations that have many underlying aspects. Both the women were utterly dependent on their husbands. Although they had different motives, their deeds were caused by the terrible inequity resulting from the social perception of the role of a woman. Although their actions (especially Mary’s) appear to be unjust, the punishment that awaits them according to the law definitely appears only to result in even more injustice.

Dahl, Roald. Lamb to the Slaughter . n.d. Web.

Glaspell, Susan. A Jury of Her Peers . n.d. Web.

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IvyPanda. (2024, February 23). "Lamb to the Slaughter" and "A Jury of Her Peers". https://ivypanda.com/essays/lamb-to-the-slaughter-and-a-jury-of-her-peers/

"Lamb to the Slaughter" and "A Jury of Her Peers." IvyPanda , 23 Feb. 2024, ivypanda.com/essays/lamb-to-the-slaughter-and-a-jury-of-her-peers/.

IvyPanda . (2024) '"Lamb to the Slaughter" and "A Jury of Her Peers"'. 23 February.

IvyPanda . 2024. "Lamb to the Slaughter" and "A Jury of Her Peers." February 23, 2024. https://ivypanda.com/essays/lamb-to-the-slaughter-and-a-jury-of-her-peers/.

1. IvyPanda . "Lamb to the Slaughter" and "A Jury of Her Peers." February 23, 2024. https://ivypanda.com/essays/lamb-to-the-slaughter-and-a-jury-of-her-peers/.

Bibliography

IvyPanda . "Lamb to the Slaughter" and "A Jury of Her Peers." February 23, 2024. https://ivypanda.com/essays/lamb-to-the-slaughter-and-a-jury-of-her-peers/.

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Lamb To The Slaughter Essay

Senjuti Gupta

Lamb to the Slaughter

‘Lamb to the Slaughter’ is about a wife, Mary Maloney, who loves her husband very dearly, at first, then ultimately kills him, due to him leaving her for an unknown reasons.

The title “Lamb to the Slaughter” is effective as it is a familiar saying.  The literal meaning is to kill the innocent; or that the victim is led to death.  The figurative meaning is that someone may be killed; or someone is going to kill another. This creates tension, as the reader prepares for something awful to happen, and also later in the story, we find out that the ‘leg of lamb’ is the murder weapon used to kill, and that the writer is referring one of the characters as an innocent ‘lamb’.

In the beginning part of the story, the writer mostly concentrates on the wife, Mary Maloney.  “Two table lamps alight – hers and the one by the empty chair opposite.  Behind her, two tall glasses, soda water, whisky.  Fresh ice cubes in the thermos bucket.  Mary was waiting for her husband.”  The first impression we get of Mary is that she loves her husband dearly, as the house is clean and neat, and that she has made the extra effort to make him feel comfortable when he gets home, by getting everything prepared therefore he can relax.

The writer has written the setting like a pleasant, warm house, for us to get the impression that Mary is a loving wife, and also, the writer has done this to make the readers be biased to like her, therefore part with her when the husband leaves.

In the next paragraph, the writer continues the wife’s devotion for her husband - “She would glance up at the clock, but without anxiety, merely to please herself with the thought that each minute gone by made it nearer the time when he would come.”  This conveys that the wife loves her husband greatly, and is excited when he comes home.

The writer now concentrates on Mary’s appearance.  “Her skin – for this was her sixth month with child – had acquired a wonderful translucent quality, and the eyes, with their new placid look, seemed larger, darker than before”.  This reveals that Mary is pregnant, conveying that the wife and husband must love each other very much and also establishes that she is faithful to him.  By describing Mary’s face, my impressions are that she is a loving wife and by mentioning the eyes, it links to an innocent lamb, as her eyes are big and tranquil.

In the next paragraph, “When the clock said ten minutes to five, she began to listen, punctually as always, she heard the tyres on the gravel outside, the footsteps passing the window, the key turning in the lock.”  This conveys that the wife’s devotion is out of proportion as she comes close to obsession.  It possibly conveys that she longs to see her husband.  It seems that her senses are geared whenever the husband comes home.

It is important to convince us that Mary Maloney is devoted and unsuspecting at first, as this will make it easier to sympathise and side with her rather than the husband; as the husband decides to leave her.

The story now continues with speech between Mary and her husband.  “‘Hullo darling’ she said.  ‘Hullo,’ he answered.”  This conveys that the wife is being affectionate towards her husband as she uses the word ‘darling’.  However, the husband doesn’t return the affection back, as there is no endearment from him.

The first impression of Mr. Maloney is that he is a hard, serious man, with no affection towards his wife.  This conveys that there is a contrast between Mr and Mrs Maloney.  Mrs Maloney is openhearted, loving and conversational, whereas Mr Maloney is held-back and uneasy.

This is a preview of the whole essay

The writer emphasises Mary’s contentment by saying that “She loved to luxuriate in the presence of this man, and to feel that warm male glow that came out of him to her when they were alone together.”  This conveys a clear statement of how much she loved her husband.  Mary pays a lot of attention to what the husband does – e.g. “she loved him for the way he sat loosely in his chair, or moved slowly across the room with long strides.”  This conveys that she loves him very much, as she concentrates on him all the time, noticing what he does.

Now, tension starts to mount, as they both drink in silence, however, Mary tries to start a conversation, but miserably fails.  “‘Tired, darling?’ ‘Yes, I’m tired.”  This conveys that something may be wrong; as Mr Maloney speaks in monosyllabic words throughout the paragraph; e.g. ‘Yes’, ‘No’, ‘Sit down’.  Also again, there is no endearment from Mr Maloney, conveying now that he definitely doesn’t show any affection towards his wife.

The writer focuses on drink (alcohol) several times throughout the story.  He does this to create tension, as some people depend on alcohol when they are avoiding, panicking or even feeling uncomfortable about something.  This causes tension as Mr Maloney “lifted his glass and drained it in one swallow.  He got up and went slowly to get another” this possibly conveys that Mr Maloney is also feeling uncomfortable, as he tries to finish it as soon as possible.  This time he wants another drink, but stronger; this may be sending signals that something is wrong.

The last parts of page 15, is where anxiety increases, as Mary digresses on, as she feels uncomfortable by the silence because he doesn’t respond.  Mary obsesses about him and keeps going on – “if you’re too tired to eat out, its not too late.  There’s plenty of meat and stuff in the freezer, and you can have it right here, and not even move” Mary tries her very best to get him to feel comfortable and open-up, but still, there is no response from him.  This conveys that Mr Maloney may feel suffocated by Mary, as she doesn’t let him do anything, and that she is always with him, all the time.

On page 16, “I’ll get you some cheese and crackers first.  ‘I don’t want it,’ he said.”  Mary still insists on making Mr Maloney something.  “She moved uneasily in her chair, the large eyes still watching his face.”  This may suggest that Mary may be getting emotionally prepared for something awful.  The writer has cleverly gone back to Mary’s large eyes, as this reminds us of the innocence – the lamb.

Mary keep things moving by making Mr Maloney eat something.  “But, darling, you must  eat! I’ll fix it anyway, and then you can have it or not, as you like.”  This conveys that Mary may be insisting to avoid what Mr Maloney is about to say.  “‘Sit down,’ he said. ‘Just for a minute, sit down.”  This builds suspense, as Mary and the readers are about to find something out.

As we come closer and closer to find out what has happened, the writer obtains detail from Mr Maloney’s expression to build more tension. “He had become absolutely motionless, the lamp beside him fell across the upper part of his face, leaving the chin and mouth in shadow.”  This creates the minute detail to create the further emphasis on tension; and the short, sharp sentences are used to build up the distress and anxiety.

In the next paragraph, the secret is let out.  “And he told her… So there it is” It is very clever for the writer to withhold the reason why Mr Maloney is leaving Mary, as this increases tension, because it gives us the reason to speculate; and guess why he is leaving her.

Mr Maloney doesn’t care for Mary, as he says, “Of course I’ll give you money and see that you’re looked after. But there needn’t really be any fuss. I hope not anyway.  It wouldn’t be very good for my job.”  This gives us very negative impressions about Mr Maloney, that he is a cold-hearted, self-centred man; and everything we have been told about Mr Maloney, has made us biased against him to dislike him.

In the following page, the writer involves us into Mary’s mind, and what she is going through at these points.  In the next paragraph, “She herself had imagined the whole thing…” Mary has a typical and realistic reaction to shock, as she tries to reject it all and pretend that nothing ever happened.  Mary has a physical reaction to the shock, as she “couldn’t feel her feet touching the floor.  She couldn’t feel anything at all – except a slight nausea and a desire to vomit.”  The writer establishes that Mary is on ‘automatic-pilot’, as she seems to be carrying on as normal, as if she was programmed.  This builds tension, as we don’t know what Mary is going to do next.

In the next sentence, the writer increases anticipation by keeping Mary in ‘automatic pilot’, as she heads “to the cellar, then to the deep freeze and the hand inside the cabinet taking hold of the first object it met.

A leg of lamb.” The writer has put ‘a leg of lamb’ by itself to make obvious that it is the murder weapon.  Also, it creates irony, as the ‘lamb’ relates to everything in this story – Mary, as she is left by the cruel husband, or maybe the husband could be the lamb, as he could have felt suffocated by the wife.

In the next paragraph, Mary “carried it upstairs, holding the thin bone-end of it with both hands and as she went through the living room, she saw him standing over by the window with his back turned to her, and she stopped.”  The writer maintains the suspense by describing the ‘leg of lamb’ as a hard bat or club, as she carries it in a way o protect herself – ‘thin-end with both hands’.  The writer foreshadows that the murder is going to take place, as he has already described the ‘leg of lamb’ as a club that can kill anybody.

In the next sentence, Mr Maloney says “‘For god’s sake,’ he said, hearing her, but not turning around, ‘don’t make supper for me. I’m going out.”  This conveys that Mr Maloney doesn’t even care that he has left her, and is very disrespectful, as he doesn’t even turn around.  The writer sustains the tension, as we don’t know whether Mary is going to hit him or not.

At that moment, Mary commits the murder “Mary Maloney simply walked up and without any pause, swung the big frozen leg of lamb high in the air and brought it down as hard as she could on the back of his head.”  The writer still maintain tension throughout; as we don’t know what Mary is going to do now with the body – if she is going to call the police, prepare a plan, or get arrested? However, the writer still keeps us sympathising with Mary, as Mr Maloney had left her, and also Mary had committed a crime of passion, therefore she didn’t plan it.

In the sentence “She might just as well have hit him with a steel club.”  This suggests how lethal a leg of lamb can be, and that she virtually just killed him.

After this, Mary begins to think very fast.  “As the wife of a detective, she knew quite well what the penalty would be. That was fine. Made no difference to her. On the other hand, what about the child? What were the laws about murderers with unborn children…”? This creates tension, as Mary is jumping to conclusions and getting anxious, but nevertheless, we still empathise with her, as she doesn’t care what happens to her – she is only worrying about how to protect her unborn baby and “she wasn’t prepared to take a chance” therefore, she had to get away with the murder.  This creates increasing tension, as we find out whether she gets away with it or not.

To get rid of the murder weapon, Mary “carried the meat into the kitchen, placed it into a pan, turned the oven on high, and shoved it inside.  She washed her hands and ran upstairs” This establishes tension now, as Mary got rid of the murder weapon, therefore there is no proof or evidence to show that Mary is the killer.

On page 18, Mary has an internal dialogue, as she tries to figure out what to do.  She intends going out to buy some ‘potatoes’ and ‘peas’.  The writer builds tension in the mirror scene, as Mary practices how to communicate to anyone, without them suspecting anything.  “Hullo Sam…I want some potatoes please, Sam and a can of peas.”  This shows that Mary isn’t nervous, and wants to show Sam that everything is normal at home.  This builds tension, as we don’t know if Sam can suspect anything.  There is also irony, as we have figured out that Mary won’t be buying cheesecake or two potatoes anymore, now that her husband is dead.  Once we are aware of this, we sympathise with Mary, as her life has totally changed in one night.

Throughout the next paragraph, the writer uses emotive language to get across the idea that Mary genuinely feels sorry that she killed her husband, and that she loved him.  The writer uses words like ‘frantic’, ‘tragic’, shock’, 'terrible’, ‘grief’, ‘horror’ to convey the emotions that describe how Mary is feeling when she sees her husband’s dead body.

Mary has now phoned the police up and told them about what she has found.  The writer builds tension again, by making us feel anxious that Mart won’t be able to get away with it, as now the police, detectives and forensic pathologists are involved.  

As all the people gather into the house, more tension and suspense is built; as there is a less chance of getting away with the murder.  The writer uses verbs like ‘hurried’, and ‘quickly’ to link to a sense of emergency, and again, the people are withholding information from her, as they ‘whisper’ and ‘mutter’.  This also creates anxiety, as we don’t know what they are talking about – if they think that Mary is the murderer or not.

The people started to look for the murder weapon, and said, “It was almost like a large piece of metal.” Ironically, the weapon was cooking in the oven, out of the police’s reach.

We are reminded of Mr Maloney halfway down of page 21, as Mary says, “she could hear their footsteps on the gravel outside.”  The writer makes us feel sorry for Mary, as she will never have to do that again, as her husband is dead.

The last two pages, is when the murder weapon is finally disposed of.  “You must be terribly hungry by now because it’s long past your super time…why don’t you eat up that lamb that’s in the oven? It’ll be cooked just right by now.”    The writer creates a lot of dramatic irony here, as the policemen and the others eat the lamb without suspecting anything.  “Their voices were all think and sloppy full of meat.” This is not a very attractive scene of someone eating, and reminds us of animal eating, as they ‘belch’, etc.

The policemen and others start to discuss the weapon.  “That’s the hell of a big club the guy must’ve used to hit poor Patrick… that’s why it ought to be easy to find.”  This is very ironic as they are discussing the murder weapon while eating it.  The writer builds tension, as the reader feels excited that Mary is going to get away with the murder.

Right at the end of the story, comes a twist. “‘Probably right under our very noses.’ And in the other room, Mary Maloney began to giggle.”  This is very surprising, as Mary had given an inappropriate reaction.  This may be due to that she is giggling with relief that she had got away with it, but personally, I think she is giggling because she has gone mad with the emotions, as she is happy as he is not there to treat her badly, but she is also sad because she loved him very much, and that their baby is going to grow up without a father.

Document Details

• Word Count 2790
• Page Count 6
• Subject English

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