Category: Fall 2016

While the term psychopath was not used to describe the charismatic, non-empathetic monsters we know today (ie- Bundy, Manson) at the time Woman in White was written, when reading the character of Count Fosco from the present, there is no doubt he meets several if not most characteristics of how one would define a psychopath today. The OED describes a psychopath as “a mentally ill person who is highly irresponsible and antisocial and also violent or aggressive”. This more modern meaning of the word was first used in 1885. Using the revised Hare Psychopathy Checklist, I will now provide traits of a psychopath backed by textual evidence to show how Fosco meets a myriad of them.

1. Glib and superficial charm- This trait can also be described as charisma. Marian admits “I am almost afraid to confess it, even to these secret pages. The man has interested me, has attracted me, has forced me to like him…and how he has worked the miracle, is more than I can tell” (217).  Marian realizes something is off about him but cannot help her attraction to him.
2. Criminal Versatility- This includes taking great pride in getting away with crimes. This is evident when the Count and Glyde are discussing wise and foolish criminals. “There are foolish criminals who are discovered, and wise criminals who escape…A trial of skill between the police on one side, and the individual on the other…But I don’t see why Count Fosco should celebrate the victory of the criminal over society with so much exultation” (233).
3. Promiscuous Sexual Behavior- I see Fosco as being very much like Christian Grey in his mannerisms of control. He is described as resembling “Henry the Eighth himself” (218) which hints that he is marred by infidelity. Fosco is also said to control the Countess with “rod of iron with which he rules her never appears in company- it is a private rod, and is always kept up-stairs” (222) which seems indicative of bondage and/or sexual abuse. He is also known to have a taste for sweets “‘A taste for sweets’ he said in his softest tones…’is the innocent taste of women and children. I love to share it with them'” (289). This description seems to hold undertones of cannibalism as well as pedophilia.
4. Cunning and Manipulativeness- Fosco even describes himself in this way “I, Fosco, cunning as the devil himself, as you have told me a hundred times” (324). This trait also ties in with the trait of parasitic lifestyle in terms of financial exploitation. Glyde realizes this in Fosco when he states “Some of the money I want has been borrow for you. And if you come to gain, my wife’s death would be ten thousand pounds in your wife’s pocket” (327).  Fosco also uses his wife to carry out his cunning acts, like when the Countess reports that Laura called Fosco a spy, and the Countess drugged Fanny and replaced the letters Marian had written.

Reading Fosco as a psychopath from the modern definition is enlightening in understanding the text as a whole because we can recognize this period as being one rich in the study of psychological disorders, their definitions, and treatments. It is evident that people exhibiting modernly defined psychopathic traits did exist although the term for them had not been coined. The earliest definition of psychopath comes from 1864, 4 years after WIW is published. This definition is probably even more interesting when studying WIW because up until 1885, psychopath was actually used to describe “a doctor or other practitioner specializing in the treatment (or claiming to treat) disorders of the mind”. In this way Fosco meets the definition of a psychopath on a dual level as Mr. Dawson claims Fosco is a “Quack…dying to try his quack remedies” (364-365) when Marian is in poor health. Fosco claims to be a man with medical talent and the image of him at Blackwater with Marian, Laura, and his wife, takes on the dynamic of Fosco as the psychopath or asylum leader, with the women as his patients forced to conform to his will. The Countess provides proof of his “success” at healing feminine mental malady, as the once self-proclaimed feminist is now his loyal servant. In his role as psychopath-doctor he still maintains a trait of psychopath-modern: endless obsession with control- as if the women were his pure, white mice.

 

During the scene in which Walter observes Count Fosco from above during the opera, he describes him in such a way that reveals both the artifice and the reality of the man’s public persona, going so far as to say that “the man’s voracious vanity devoured this implied tribute to his local and critical supremacy.” (Collins 569). This sentence is significant for its connections with consumption from both “voracious” and “devoured,” as well as the implied power structures from “tribute” and “supremacy.”

In this section of the text, Walter reveals that Count Fosco delights in his ability to walk about in public as the figure of the respectable gentleman, fooling everyone around him into believing that he is a considerate citizen, no more devious than anyone else. He feeds off of people’s impressions of him and the power they give him because of his vanity, even as he relies on the vanity’s of his victims to convince them of the mask he wears in general society. His is the mask of restraint and carefully calculated moves, always within the civil and socially acceptable as long as he is in the public eye. This mask is also a part of his vanity; he dresses in a distinguished manner, and never appears undignified, even when he is tittering at his little birds, thus preserving the illusion and demonstrating his tight control over his emotions, contrasting starkly with Sir Percival, who essentially dies because of his inability to separate desperation from his decisions.

The concept of giving tribute has colonial interpretations, reminiscent of indigenous peoples forced to give food, goods, and riches to their conquerors as a sign of submission and to allow them to amass their desired wealth. According to Walter’s descriptions of Count Fosco, the man believes that everyone around him is his inferior and therefore honors him by submitting to his influence. In fact, the only character who Count Fosco has not viewed as inferior is Marian. This power structure in which he holds complete supremacy over the other characters controls the entire plot of the novel, which rests on the loss of identity to those members of society (women) who are given no legal agency over their own lives and therefore do depend entirely on their male counterparts. Taking advantage of this unequal structure allows Count Fosco to feed his vanity by testing his own skills at pulling strings, gaining eventual control over nearly every event that occurs.

 

John Ruskin, who was read about in Richard Altich’s “Victorian People and Ideas: A Companion for the Modern Reader of Victorian Literature” is an English art critic. He believes that ‘the quality of man’s inner life was determined by the presence or absence of beauty in his everyday surroundings” (281). By examining Ruskin’s conviction in relation to the language that Collins uses to describe certain environments, and people in his story, readers are exposed to what men, (and in this post, specifically what Walter’s) ‘inner life’ may be like.

Walter’s love interest, Miss Laura Fairlie, is a character who is most evidently seen as beautiful. Collins writes in the beginning of the story about Laura’s appearances saying that she is, “ the woman who first gives life, light, and form to our shadowy conceptions of beauty. […] Take her as the visionary nursling of your own fancy” (52). Using this lense, and assuming that Collins agrees with Ruskin’s opinion (which I don’t totally think he does, but that isn’t exactly important right now), the reader can see that when Walter is with Laura, because she is the one who, ‘first gives life’ and is so visually pleasing, he is most content; he finds her the most beautiful. Though this quote is so early in the story, it is important as it shows that there is attraction between Walter and Laura.

Because we know that the state of a man is based on the presence and absence of beauty in his life, when Laura seemingly passes, the reader can conclude that Walter is not quite at peace inside. Her death brings him into hysterics. When Walter’s mother approaches him to bring him the news of Laura’s death Collins writes, “I saw something in my mother’s face which told me that a secret oppression lay heavy on her heart. […] You have something to tell me” (407). At this point in the story, because of knowing the great significance of the visual appearances of Collins’ characters, one realizes that Walter’s ‘inner life’ is disturbed immediately when he sees his mother’s contorted face. Walter’s newly conflicted state of mind, is a result of Laura, the most beautiful, her death. Supposing man’s inner well-being is mostly dictated by visual cues, Walter’s internal, rapidly growing, feeling of strife is more directly a result of his mother’s reaction. His strife just gets worse after actually hearing the news.

This conflict that Walter is experiencing leads him to dramatics. Shown as Walter’s inner dialogue and as his actions, Collins writes, “Oh death, thou hast thy sting! […] I laid my head, on the broad white stone, and closed my weary eyes on the earth around […] Oh, my love! my love! my heart may speak to you now!” (409). These extreme internal declarations of exasperation make me ask that, had Walter been a woman, would he have been subjected to an asylum due to his extreme emotions, and seemingly hysterical character? At this point in the story, his emotions and actions do not seem all that different than those of Anne Catherick’s. The difference between the two is that Walter does not externally express his thoughts and feelings whereas Anne, many times, seemingly cannot help but wear her heart on her sleeve.

There are many ways to apply Ruskin’s idea of beauty dictating man’s emotional state to The Woman in White. This examination of Walter’s inner self does not even begin to scratch the surface of all that could potentially be uncovered using this lense. But even these small insights learned from applying Ruskin’s belief help to develop a better understanding of the male characters in this story, and how their minds may work.

It seems that the legends and stories of women in white always involve a forbidden lover. The artist Frida Kahlo drew an unfinished portrait of a woman in white which was painted in 1930 (to the left). Some people thought that this woman was Frida’s first lesbian lover, which makes an interesting connection to Wilkie Collins’ Woman in White when looking at the homo-erotic, incestual relationship between Laura and Marian. Marion seems like more of a lover than Walter Hartright for most of the novel. An example of this relationship is when Marian tells Laura to keep herself safe by locking herself in her room, “I will come back again, love, in an hour or less… Lock the door; and open it to nobody, until I come upstairs again.’ I kissed her, and left her,” (302) Marian can’t part with Laura without a kiss, she is Laura’s protector and very passionate about her. Marian is very enthusiastic to get Laura away from Sir Percival so claim her as “mine” once again which is the character of a lover and not a sibling. So there is an irony is the stereotypical symbolism of the color white meaning purity and innocence when these women in white have healthy sexual appetites and partake in relationships that society would consider sinful and (gasp!) scandalous.

Also, there seems to be a connection between phantom women in white and phantom girls in white, which would explain why both Anne and Laura are treated like children. In Esther Inglis-Arkell’s article “Why are There so Many Ghost Stories about a ‘Woman in White’?”, she discusses how these ghost little girls in white evolve into the women in white we have come to know all too well. Arkell describes the little girl phantoms as having more of a personality whether that be playful, somber, or simply evil or menacing. Anne is the perfect example of this in an earlier scene with Walter after he brings up Sir Percival’s name in front of her for the first time and Anne’s pitiful and melancholy character transforms into something a bit more menacing. “The instant I pronounced that name she started to her feet; and a scream burst from her that rang through the churchyard and made my heart leap in me with the terror of it,” (105). Anne is usually portrayed as an innocent child that we as the audience want to empathize with. But then she has this child-like tantrum that makes the situation a bit more sinister and hair-raising. She is upset by an evil betrayal on the part of Sir Percival but quickly goes back to her innocent, doe-eyed, ghost-child persona.

According to Arkell, the woman in white’s narrative is always involving “love, sex, betrayal, murder … She’s someone’s unhappy wife, or illicit lover, or suicidal betrothed, or some other sad tale of romantic woe.” Does this sound familiar (Laura Fairlie-Glyde)?

 

 

 

 

Links to Sources:

Woman in White Legends

Frida Kahlo’s Woman in White

While reading Altick’s “The Nature of Art and its Place in Society”, I found Ruskin’s idea of beauty so directly affecting a man’s quality of life one of importance to The Woman in White. Altick notes that “Ruskin maintained that culture (as he conceived it) was a function, in the first instance, of the eyes” (Altick). One theme we’ve continually hit on while reading The Woman in White is the incredible attention given to women’s appearances and the value of their aesthetics. I would say that similar to how Ruskin believed a man’s happiness and spiritual devotion could be determined by the amount of beauty around him, the men in the Victorian era (or so it seems after reading this novel) based much of their lives around women’s appearances. Whether this means being attracted to a woman based on her appearance or acknowledging that her appearance can hint to social status, it’s clear that there is an obsession with physical descriptions and what they reveal about a woman and thus impact a man’s opinion of her.

Upon Waltar meeting Marian and Laura, he devotes entire pages to describing their outward appearances and his reaction to them. In the case of Marian, Waltar is immediately taken aback by her dark, man-like, and “ugly” features, which stand in such opposition to her “rare beauty of form” he had been appreciating a moment before (Collins 34). Marian even defines herself as “dark and ugly” while mentioning in the same line that her father was poor and she has nothing (Collins 34). Poverty and ugliness seem to be connected here, as wealth and beauty are connected in the case of Laura. Waltar describes Laura as a “fair, delicate girl”, and her light skin and feeble mannerisms were quite desirable. Ruskin’s idea of beauty fulfilling men (though he means art as beauty in his case) seems to reflect the intense detail given to appearance in the Victorian novel and how men, or certainly Waltar, are influenced greatly by outward beauty.

Ruskin also believes that public beauty, whether it be in the form of landscaping or architecture, is a reflection of the social health (Altick). He notes that the societal illness of the Victorian period can be seen through “the incongruously styled and hideously overornamented public and commercial buildings” (Altick). I wonder if the beauty of buildings and landscapes meant to inspire men and reflect a healthy society has been transferred to the beauty of women in the Victorian novel. After all, the beautiful Laura attains the affection of Waltar and represents money and social status, whereas the sickly Anne and “ugly” Marian have no marriage potential and no economic standing.

 

 

As in my previous post I have touched on the musical Sweeney Todd: The Demon Barber of Fleet Street as a text that bears striking similarity to The Woman in White as well as ideology in Victorian culture. I will be visiting it once again, however this time I am looking at Sir Percival Glyde and Count Fosco and their cultural identities. Within Sweeney Todd they are both found in the guise of Pirelli the Barber (or as he is also known Daniel O’Higgins), who swindles and charms the crowds of London. Initially an Irishman apprenticed to Sweeney Todd, O’Higgins eventually goes away and adopts the persona of Adolfo Pirelli, an Italian barber who serves the highest classes of Italy, including the Pope. He sells hair “tonics” to those desperate enough to fall victim to his words and charisma, despite being an incredibly effeminate and blindingly dazzling man. He embodies two types of people who the English see as suspicious characters.

Directly from his introduction Fosco is displayed as an effeminate, yet charmingly powerful and strangely terrifying man. (217) His little eccentricities and personality (which seems to be somehow false) force characters to like him, just as Pirelli works his “magic” over the crowds. Marian, being a sensible English lady, is immediately distrusting of Fosco, yet even she feels he is beginning to work his “miracle” (217) Fosco, as the Italian or non-Anglo Saxon, in addition to being of a higher class represents a threat to English society, much like a later popular character of Victorian literature[1]. His effeminate nature (I suppose that Pesca is his counterpart) combined with class represents a threat to English society and ideas about what men should be. However, he reinforces his dominance by controlling English women and fulfilling the desires of characters like Sir Percival Glyde.

While Glyde is not Irish no Italian (although his association with both seems unsavory by English standards), a brute Irishman is the cause of his misfortune and in turn the Secret and the plot against Laura and Anne. Because his mother was married to an Irishman (and thus her “marriage” to Sir Glyde was not valid) Percival is unable to inherit the family fortune. Although the Irishman’s deeds are by no means morally sound, it can be implied that it is his fault all of the events in the story happened, and he is not around to voice his own reasoning on the matter. He is nothing more than an Irishman whom can carry the blame (although we as readers still blame Percival for this). Thus both aristocrats, either by their ethnicity or association, represent the types of foreigners who England regards as deceivers and less respectable than true Englishmen.

[1] The Count, from Bram Stoker’s Dracula, also represents a non-Anglo Saxon aristocrat who poses a threat to England through his charms, deception, and inversion of gender and sexuality.

 

My sad-sap romantic sensibilities have gotten the better of me once again! Initially, I thought about close reading part of the conversation between Mr. Fairlie and the inimitable Count Fosco because the former’s account of his involvement in Laura and Percy’s marital feud was just so bloody entertaining. But, really, now that my precious Walt’s returned to his rightful position as the narrator of the novel, he has crept his way back into my heart. I can’t shake him; he’s just so cute when under duress (which is, fortunately, pretty often). Of the main trio, Walt appears the most committed to salvaging some kind of family out of the wreckage that is, well, Laura’s life and social status. I was sort of right in my earlier assumption that he’s not really in love with his current ward, but I suppose he still loves her. Or, more likely, the idea of her.

The long paragraph on pages 413 and 414 all but confirms my belief that the other two women in his life, Marian and Anne, appeal to Walt as well. As expected, not only is Laura morphing into Anne and goes under her alias, she becomes even more endearing to him in the process. He really lays it on thick in a fit of devotion with his repetitive rhetoric, including this gem of a rather possessive tricolon: “Mine to support, to protect, to cherish, to restore. Mine to love and honour as father and brother both. Mine to vindicate through all risks and all sacrifices…” (414). Walt further implies, with phrases like “hopeless struggle against Rank and Power” and “the long fight with armed deceit and fortified Success,” that the reason for his existence is to make Laura well again. Yet his dedication, while no doubt genuine and noble and all that shite, unnerves me quite a lot. He has never really known how to love this girl properly. Though I bet he’d treat me right. I love being smothered!

This whole section is no doubt invoking some kind of heroic trope specific to Victorian literature and probably before that, as well. This is pure, refined melodrama at its best, designed to instill some, uh, sensations in the reader before she is forced to return to her drab, miserable existence. Though I wouldn’t call this heartfelt declaration of protection sexy, especially since Walt’s impression of her these days no longer screams lust: “Forlorn and disowned, sorely tried and sadly changed; her beauty faded, her mind clouded” (414). He and Marian desire to be family figures to Laura until she is brought back to full health…and then what? Is he going to marry her afterwards, and have Marian stick with them as a part of their family? Now, I’m not suggesting polyamory…but then again, this name of this class is “Victorian Sexualities,” so…And the idea of “living with” Marian and Walt does seem more than a little enticing to me. You know, because they’re loyal and stuff?

Of course, I need to address that Walt’s possessiveness of Laura might not be much different from that of Percy. And now he is in a position of power he might secretly learn to crave if he doesn’t get off from it already. Good intentions or not, he could very well groom her to become like her old self (i.e. the version of Laura Walt idolized). What makes him different from Fosco in that sense?

The Woman in White is often credited as being the first novel of the sensation genre to be published.  The sensation genre is defined (on the back cover of our edition of The Woman in White) as a “Victorian genre that combine[s] Gothic horror with psychological realism”, which can evoke intense physical and emotional responses from readers.  This is why sensational novels tend to focus on stories that involve matters like murder, secrecy, and scandal, making The Woman in White a prime example of the genre.

The tone in the novel is thus unsurprisingly suspenseful with topics such as the mystery of Anne Catherick, the terrifying power of Count Fosco, and the Secret of Sir Percival Glyde being prominent drives for the plot.  After reading the conversation between Walter and Professor Pesca, a big reveal scene of Professor Pesca’s secret, I noticed a reoccurring speech pattern of Professor Pesca.  I found it curious how Pesca kept using body parts to express himself.  For instance, he uses the phrases “you have shaken me from head to toe”, “on your heart and soul”, and “put my life into your hands” (pg. 573) within the span of a few paragraphs.

After reading this section of the novel, I realized that scenes that involved cases of suspense or other powerful emotions, such as grief and fear, have generally been depicted in a descriptive style that uses the expression of physical body parts rather than a frank statement of the character’s feelings.  For example, Pesca could have stated “The information that I am about to reveal is extremely dangerous so I am trusting you completely, Walter” instead of saying “My next words, as true as the good God is above us, will put my life into your hands” (pg. 573).  Another example is from the First Epoch when Marian tells Walter about Laura’s engagement to Sir Percival.  Walter’s reaction is described as thus: “The last word went like a bullet to my heart.  My arm lost all sensation of the hand that grasped it” (pg. 72).  This is an impressive way of expressing Walter’s shock especially when compared to my plainer version: “Marian’s words left me speechless.  The news had made me numb to all my surroundings.”  The similes and metaphors of Wilkie Collins are preferable (of course) since they emphasize the gravity of a character’s thoughts and words.

I believe that using such language is definitely the writing style of Wilkie Collins.  By doing so, it is possible for readers to truly feel the pressure of a scene or be able to make a connection with a character, hence fulfilling the purpose of the sensation genre.

 

Identity plays an important role in ‘The Woman in White” both subliminally and in terms of pushing the plot forward. The eerie similarity between Anne and Laura and the mystery of Sir Percival Glyde’s true background all serve as plot elements that add mystery and suspense to this novel; however, themes of identity are also present in a more subtle way throughout “The Woman in White.” Aspects of one’s identity such as gender, sexuality, race, and class and the way in which these interact with one another to form one’s position in society are highlighted throughout this novel. This is exemplified in the paragraph where Walter speaks about Laura’s supposed death.

“In the eye of reason and of law, in the estimation of relatives and friends, according to every received formality of civilized society, ‘Laura, Lady Glyde’ lay buried with her mother in Limmeridge churchyard. Torn in her own lifetime from the list of the living, the daughter of Philip Fairlie and the wife of Percival Glyde might still  exist for her sister, might still exist for me, but to all the world besides she was dead. Dead to her uncle who had renounced her; dead to the servants of the house, who had failed to recognise her; dead to the persons in authority who has transmitted her fortune to her husband and her aunt; dead to my mother and my sister, who believed me to be the dupe of an adventuress and the victim of a fraud; socially, morally, legally- dead.” (p.413).

There is much to unpack from the quote written above. What first caught my eye was the way in which Laura’s identities related to her class and gender are explicated by the language above. Walter’s decision to used the word “civilized” society was the one indication for me that class is clearly an essential part of his view of Laura. That and the mention of her servants exhibits the way in which Laura’s class was a means upon which Walter worshipped her and saw her as a worthy object of his gaze. She is describes as beautiful, pale, graceful, and a member of the upperclass, making her the stereotypical ‘perfect’ woman of the victorian era.

Another form of identity that manifests itself in this quote  is that of gender. I found it interesting that when talking of Laura, she is described as the “daughter” and “wife” to the two powerful men in her life. This was interesting for me in that she is described as a daughter and wife to men rather than a woman in and of herself. Instead, she is described in relation to the powerful and privileged men of her life that she technically belonged to.  This paragraph again exemplifies intersectional identities through Walter’s explication of Laura sudden disappearance from the land of the living.

Another part of this quote I found interesting was Laura’s seemingly lack of a distinct identity and Walter’s seemingly confusion as to how a person can suddenly be gone. It seems to me that this novel is concerned with the way in which identity is not distinct or intrinsic. In fact, it is very easy for one to lie about their identity or lose it suddenly. Walter seems to be grappling with this throughout the novel as he is constantly confused by the identities of those around him. I plan on doing more research about identity within the Victorian Period but there seems to be a lot of anxiety surrounding this topic.

Marian has always been a strong character. To watch her break down over housework, I could not help but think that there was something more to the scene. The type of sadness I felt reading the passage made me feel like what Marian was experiencing was more similar to a death then preforming housework. In many ways I think was more like death.

To start Marian has always lived a life of prestige. She has never had to do housework. By her taking on this role it is showing her fall in status and the hardships to come. Marian’s lost goes beyond her status though it reaches the very core of her character. Marian has always been a very independent woman and now she must completely rely on Walter.  Marian has always had a lot of pride in the fact that she is not obedient and placid like the other woman in her life and now she is being forced into a role that is stereotyped specifically for woman. I think in taking on the housework Marian is giving up a lot more than just some free time.

I also think by performing housework Marian is solidifying her role as “mother” in the trio’s foe family, which is not a role that Marian has ever indicated wanting for herself. Marian has always proven to be a very mature person, but it has always been in ways that are “for men”. For example, her taking care of Laura’s legal affairs in terms of her marriage as best as she could. Now Marian most be mature in a maternal way. She has to tend to the house, take care of the child (Laura), and anxiously wait for her husband (Walter) to return home.

I was reassured however when Marian says “it’s my weakness that cries, not me. The housework shall conquer it, if I can’t” (Collins 433). This line is a reminder that Marian still has a fire in her. She is determined to make the most of her poor situation. While Marian may have lost her independence she has not lost her strength which has always been her defining quality.