Women, as stated by Gilbert and Gubar in The Madwoman in the Attic, are often represented in literature as one of two binary opposites, "monstrous" or "angelic". Arguing in their theory that women are represented either as the "sweet silly Snow White" character or as the "fierce mad queen"2, Gilbert and Gubar expose how the female protagonist can never be understood as something in between these two states. This dichotomy is clearly demonstrated in Felecia Hemans' "The Indian City," in which the female protagonist is seen abandoning a life of angelic domesticity for one of monstrous masculinity. A consequence of this transition is the woman's death, which is presented by Hemans as the only way to solve the problem of now being monstrous. Throughout the first section of Hemans' "The Indian City", the female protagonist "Maimuna" is depicted as a feminine ideal, embodying eloquence and maternal instinct. Presented to the reader as a doting mother, watching over her son "[...] Above heaven and earth with a quiet smile..."3, (66) the character immediately seems to possess angelic qualities of transcendence and benevolence. As the relationship between mother and son is further explored throughout the poem, it becomes clear that there is a deeply rooted connection that binds the two together. Described as "[...] standing, when grieving, beside her knee" (111) and "[...] smiling on her way like a bright spring day" (115), the child appears to give a purpose to the woman's life, which probably lowers the reader's expectations of her, since she only has one role to play. This idea of ​​representing women as a solitary thing is explored in Gilbert and Gubar's The Madwoman in the Attic theory. ... halfway through the paper ... back on his soul" (216) and finally, having completely lost all purpose in life, he dies. Similar themes can be found in Hemans' later poem 'The Indian Woman's Death Song' , in which the female heroine drowns herself and her child to escape 'the weary fate of woman'5. In conclusion, 'The Indian City' by Felecia Hemans perfectly reflects the argument made by Gilbert and Gubar in The Madwoman in the Attic. Although the female protagonist is portrayed as a maternal "angel", she is seen as virtuous and perfectly feminine. However, once she breaks free from this domestic role and becomes a male "monster" seeking revenge, she is no longer one. representation of femininity. With no intermediate status available to the woman and no other feminine duties to fulfill, the only choice she has is to end her life and ease her pain..