19世纪维多利亚时期的女性的形象标准是弗吉尼亚·沃尔夫提出的“家中天使”。她们善良、纯洁、忠诚并且以家庭为重心。在文学创作中时常出现一些与传统的小说中的女性形象迥异的女性人物颠覆了“家中天使”的形象。例如《简爱》中的柏莎·梅恩和《奥德利夫人的秘密》中的露西被赋予疯癫的形象,这些人物形象向传统的男权社会观念制度提出了反抗。她们的疯癫并非是一种绝对的病理现象,而理性的疯癫,是对男权社会的不公与囚禁的控诉。本文试图分析柏莎·梅恩和奥德利夫人的多次反抗说明以她们为代表的女性对男权社会的反击。 Nineteenth-century Victorian women’s image standards are proposed by Virginia Wolfe “Angel at Home ”. They are kind, pure, loyal and family-centered. In the literary creation, there often appear some women characters different from the female images in the traditional novels subverting the image of the angel in the family. For example, Bossa Mein in Jane Eyre and Lucy in “Lady Odley’s Secret,” were given a frantic image, and these characters pose a resistance to the traditional patriarchal system of social conception. Their madness is not an absolute pathological phenomenon, but the rational madness is a charge of injustice and imprisonment of patriarchal society. This article attempts to analyze the repeated protests of Bossa Mein and Maddie Audley about the counterattack on the patriarchal society by the women whom they represented.