Author: womaninthewallpaper

Mrs. Catherick as a “Religious” Woman

When Hartwright first enters Mrs. Catherick’s house, he describes that “On the largest table, in the middle of the room, stood a smart Bible, placed exactly in the center” (484). This large size of this bible and its placement in the center of the room on a special table implies that it has intentionally been set up in order to be as noticeable as possible. Further, Mrs. Catherick brings up this bible when she feels Hartwright has insulted her reputation, saying “Is your mother alive? Has she got a better Bible on her table than I have got on mine?” (488). By emphasizing her bible in this context, Mrs. Catherick uses her supposed faith as a way of defending her reputation. She specifically depicts herself as being more religious than other women by comparing herself to Hartwright’s mother. Through her claim that she is a more religious woman because of the quality and size of her bible, Collins implies that a person is often judged more on the showiness and appearance of their religious beliefs rather than their actual faith and morals.

Ironically, Mrs. Catherick actually strays from most Christian ideals. She is incredibly selfish and cares little for other people other than herself, hardly even showing any care for her daughter’s death (she just puts on black mittens– a performative action). Her taking Anne away from Mrs. Clements even demonstrates a more active type of wickedness (her sole motivation being a whim of jealousy). Her desire for Sir Percival’s gifts indicate that she is very greedy and materially motivated. She is depicted to be very sensual, both in appearance and in her actions (her affair). Her betrayal of her marriage (not just to any man, but to a clergyman) emphasizes her betrayal of the church and its teachings. Interestingly, Hartwright also describes Mrs. Catherick’s hatred with serpent-like language (“serpent-hatred,” “lurking reptile”), evoking images of the original biblical, sinful woman, Eve. 

Through Mrs. Catherick’s immorality (but presentation as a religious woman), Collins suggests that religion is often used performatively to enhance one’s reputation, and can be treated as just another societally constructed way to judge people (especially women). 

Anne Catherick’s Terrifying Touch and the Fear of Female Sexuality

While Anne Catherick is initially described by Hartright as appearing modest rather than sexual, there is nevertheless something sexual about their connection. Anne originally catches Hartright’s attention by touching his shoulder. The word “touch” is emphasized several times, as Anne tells Hartright “I was obliged to steal after you, and touch you” (25). Hartright immediately emphasizes her word choice by pointing out the oddness of how she caught his attention– “Steal after me, and touch me? Why not call to me? Strange, to say the least of it” (25). Mere sentences later, Hartright uses “touch” in an emotional context: “The loneliness and helplessness of the woman touched me” (25). While “touch” in this instance refers to invoking sympathy, the repeated usage of “touch” suggests that this traditionally feminine image of a helpless woman is an image Hartright is physically attracted to.

In the graveyard, Anne touches Hartright’s shoulder once more, and Hartright describes it as “a welcome interruption to be roused by” (97). “Welcome” suggests Hartright has a desire for her to touch him, or at least he enjoys it when she does. Further, following the line of thought that Victorian novels are always talking about sex in subtle, round-about ways, the sexual connotations of the word “roused” seem to very intentionally imply that Hartright is sexually aroused when Anne touches him.

Interestingly, Anne’s touch is also something that Hartright associates with fear. The emphasis on Heartright’s bodily feelings of terror, such as “petrified me from head to foot,” emphasize this connection between sexual attraction and fear. Her touches are always unexpected– “stealthy and sudden”– expressing the unexpectedness of a modest-looking woman provoking such sexual feelings (97). Anne’s description as a modest-looking woman, dressed in all white (a color associated with purity and chastity), and her fragile mental state all emulate traditional ideas of femininity. Hartright’s attraction to this “weak” womanly image suggests an idea that is terrifying and dangerous to men. No matter how innocent a woman looks, she can still gain sexual power over him.