Historical Context
Oscar Wilde wrote during the late Victorian era, named after Queen Victoria. This period saw the emergence of a burgeoning middle class in Great Britain. This middle class accumulated wealth through technological advancements from the Industrial Revolution and the expansion of Britain's empire. Their values sharply contrasted with those of the traditional aristocracy, who had long relied on land for income and inherited wealth rather than earning it. The middle class emphasized the significance of family, thriftiness, and hard work. However, many working-class Victorians lived in dire poverty. Government commissions meticulously examined the living conditions of the poor, aiming to improve everything from sewage systems to education. Mid-Victorian novelists used their works to highlight the social issues of their time.
Aesthetic Backlash
Oscar Wilde was a proponent of the Aesthetic Movement, also known as the Decadent Movement, which originated in France and reached England in the late 19th century. The Decadents prioritized beauty above all else, embracing the concept of "art for art's sake." They rejected the social problem novels popular earlier in the Victorian era. In his famous preface to The Picture of Dorian Gray, Wilde wrote, "No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Wilde believed that moral judgments diminished the artistic value of paintings and literature. Many Decadents also strayed from the moral norms of their time, experimenting with sex and drugs. Critics have noted that in "The Canterville Ghost," Sir Simon displays Decadent sensibilities.
Science
In "The Canterville Ghost," Mr. Horace B. Otis asserts that "the laws of Nature are not going to be suspended for the British aristocracy." The nineteenth century witnessed numerous scientific advancements. Charles Darwin introduced his theory of evolution in The Origin of Species in 1859. The opening of the Natural History Museum in London in 1881 facilitated the dissemination of recent scientific knowledge. Medicine also progressed, with vaccines developed for diseases such as rabies and anthrax. Scientists gained a better understanding of the natural world, discovering the size of atoms and the physical composition of the sun. Additionally, in 1882, Viennese physician Joseph Breuer began using hypnosis to treat hysteria, marking the early stages of modern psychoanalysis.
Many Europeans and Americans in the nineteenth century turned to dubious sciences that were popular at the time. One example of a Victorian pseudo-science is phrenology, which held that a person's character traits could be discerned from the shape of their skull. Another belief held by some Victorians was Mesmerism, developed earlier in the century by Franz Anton Mesmer, who proposed that hypnosis could enable mind control.
In 1882, the Society for Psychical Research was founded to investigate the existence of ghosts. Oscar Wilde references this society in "The Canterville Ghost." In the story, Mrs. Otis, a pragmatic American, declares her intention to join the society. The Otis family's inability to differentiate between genuine science and pseudo-science serves as a satire of the Victorian era's blind faith in scientific endeavors.
Setting
The narrative unfolds in Canterville Chase, an ancient English castle replete with all the features of a classic haunted manor. The detailed descriptions of the wainscoting, the black oak-paneled library, and the suits of armor lining the hallway establish a gothic ambiance, highlighting Wilde's intent to juxtapose the Old World with the New. Reflecting the style of the English Decadents, the gothic setting underscores the author's intrigue with the macabre. However, Wilde infuses this eerie atmosphere with humor, blending elements of traditional English ghost stories—like creaking floorboards, clattering chains, and old prophecies—with symbols of contemporary America. This gothic backdrop accentuates the cultural clash, placing modern Americans in a quintessential symbol of British heritage, and emphasizes the incongruity of the castle's new inhabitants, the Otises.
Expert Q&A
Describe the "Garden of Death" in "The Canterville Ghost."
The "Garden of Death" in "The Canterville Ghost" is described as a peaceful, eternal resting place located beyond the pine woods. It features long grasses, the nightingale's song, and a protective yew tree. Time does not exist there, offering eternal peace. Sir Simon seeks this garden for rest, needing Virginia Otis's help to fulfill a prophecy and cross over into death.
Why is the mansion in "The Canterville Ghost" called Canterville Chase?
The mansion in "The Canterville Ghost" is called Canterville Chase because "chase" refers to a hunting or game preserve, signifying its past use as a hunting lodge. This is supported by the "faded green tapestry" depicting huntsmen. The grounds are expansive and used for activities like horseback riding to search for Virginia when she is missing. Additionally, the term "chase" may suggest the ghost feels pursued by the Otis family, especially the twins.
How is the Otis family's drive from the railway station to Canterville Chase described?
The Otis family's drive from the railway station to Canterville Chase starts peacefully, with idyllic pastoral scenes and pleasant summer weather enhancing their journey. They enjoy the fragrant scent of pinewood and sightings of wildlife. However, as they approach Canterville Chase, the atmosphere shifts ominously with gathering clouds and flights of rooks. Rain begins to fall before they reach the house, but they arrive safely without any mishaps.
Literary Style
Setting
"The Canterville Ghost" is set in the English countryside during the late nineteenth century. The primary location, Canterville Chase, is depicted with Gothic elements. This ancient mansion features hidden rooms, secret passageways, lengthy corridors, carved gargoyles, stained glass windows, and oak paneling. The walls are adorned with portraits of long-deceased Canterville ancestors, ancient tapestries, and a suit of armor, enhancing the medieval ambiance. Frequent thunderstorms add to the eerie atmosphere. In essence, Canterville Chase embodies the quintessential haunted house.
Stereotypes
Oscar Wilde delves into various stereotypes in the story. Canterville Chase possesses the classic characteristics of a haunted house, easily recognizable to contemporary readers. Likewise, Mr. Horace B. Otis, an assertive republican who dismisses European superiority and champions the power of the American dollar, represents another stereotype. He and his family often discuss the excellence of all things American, from accents to actresses. The Otises also uphold scientific rationalism and trust in the solutions offered by "Pinkerton's Champion Stain Remover and Paragon Detergent" and "Tammany Rising Sun Lubricator."
Young Virginia Otis is depicted as a Puritan who believes in clear distinctions between right and wrong. American straightforwardness is contrasted with the decadence and decay of the outdated English aristocracy, personified by the Ghost, Sir Simon. Lacking morals, Sir Simon murdered his wife because of her poor cooking and plain appearance. British aristocrats are portrayed as being trapped in old habits. For three centuries, generations of Cantervilles accepted the ghost's presence without attempting to break the cycle of hauntings. In contrast, the Otises remove blood stains and offer to oil the Ghost's squeaky chains, demonstrating that American pragmatism can surpass tradition.
Fairy Tale
Oscar Wilde incorporated fairy tale elements in many of his works. In "The Canterville Ghost," he presents Virginia Otis as a fairy-tale-like heroine. Critics have compared her to the princess in "The Frog Prince." In that tale, the princess must overcome her aversion to frogs and, in an act of faith, kiss the frog. Similarly, Virginia must believe that the murderous and ghastly Sir Simon has a redeemable soul. Her actions result in a happy ending: she marries a Duke and receives a casket of valuable jewels from the Ghost.
Aestheticism and Decadence
Oscar Wilde was a key figure in the late nineteenth-century movement known as aestheticism or decadence. Advocates of this movement championed the idea of "art for art's sake," and sometimes even "life for art's sake." Essentially, they believed that the primary purpose of both art and life is to create beauty, with beauty being the ultimate aim. In many respects, Sir Simon, the Canterville Ghost, embodies this philosophy. He meticulously crafts costumes to achieve the perfect representation of ghostliness. He dedicates all his time to mastering the art of horror. However, the Otises fail to appreciate his various transformations and do not recognize the artistry in his performances. As materialists, the Otises undermine the Ghost's efforts. They clean away his meticulously maintained bloodstain and eventually persuade him to oil his noisy chains. As a misunderstood artist, the Ghost garners the reader's sympathy. Yet, in many ways, Sir Simon serves as a parody of the very movement to which his creator, Wilde, was connected.
Literary Qualities
"The Canterville Ghost" explores contrasting cultures. Wilde places an American family in a British setting and, through a series of mishaps, contrasts the two cultures. He creates stereotypical characters representing both England and the United States, portraying each as comedic figures. This satire highlights both the Americans' lack of refinement and the British determination to uphold traditions. Sir Simon is not merely a symbol of England like Mrs. Umney might be; he exemplifies British culture. In this way, he starkly contrasts with the Otises. Sir Simon and the Otises misunderstand each other, and through this conflict, Wilde underscores the cultural clash between England and the United States.
The narrative showcases Wilde's tendency to invert situations, as the Otises ultimately gain the upper hand and frighten the ghost instead of being scared by him. Wilde pairs this inversion of roles with a shift in perspective. Unlike traditional ghost stories told from the viewpoint of the castle's inhabitants, this story is narrated from the ghost's, Sir Simon's, perspective. Thus, Sir Simon can be considered the "protagonist" of the story, as he is the one who must overcome challenges and improve his existence.
Compare and Contrast
1880s: Homosexuality is viewed as a moral outrage and perversion, often resulting in imprisonment. Homosexual relationships are kept out of public view.
1990s: While homosexuality gains more acceptance, numerous states still maintain laws against homosexual acts. Many individuals see the homosexual lifestyle as conflicting with religious beliefs. Efforts to legalize gay marriage and allow gays in the military have been unsuccessful. In response to brutal hate crimes, several states have enacted anti-discrimination laws to protect homosexuals.
1880s: Nineteenth-century Europe and America are fascinated by practices like phrenology, which claims a person's character traits can be determined by the shape of their skull. Some Victorians also believe in Mesmerism, a concept introduced earlier by Franz Anton Mesmer, which suggests the possibility of mind control via hypnosis.
1990s: Alternative medicine sees a surge in popularity as many people grow disillusioned with technological advancements and the complex healthcare system. Instead, they turn to massage therapy, yoga, acupuncture, and other methods to address serious health concerns.
Media Adaptations
"The Canterville Ghost" was loosely adapted into a film of the same name in 1944. Set during World War II, this version stars Charles Laughton as a cowardly ghost who encounters a timid descendant, portrayed by Robert Young. Directed by Jules Dassin and released by MGM, the film is available from MGM/United Artists Home Entertainment.
A 1991 production of "The Canterville Ghost" from "Wonderworks" features a ghost who must haunt an ancient manor house until he learns to overcome his fears. Produced by Helios Productions, this film is available through Public Media Video.
An animated version was created in 1986 by Orkin-Flaum Productions.
In 1975, NBC aired The Canterville Ghost, adapted for television by Bell System Family Theatre.
In the 1996 Hallmark production of The Canterville Ghost, Patrick Stewart stars as Sir Simon, and Neve Campbell plays Virginia. This version was directed by Syd Macartney.
The Saturday Evening Ghost was the title of a 1936 stage adaptation by Samuel French.
Darwin R. Payne wrote a stage adaptation of "The Canterville Ghost" in 1963.
For Further Reference
Belford, Barbara. Oscar Wilde: A Certain Genius. New York: Random House, 2000. This biography delves into Wilde's eccentric nature and artistic brilliance, while also exploring his homosexuality within the context of the political and cultural climate of his era. It features historical photographs and excerpts from his writings.
Foldy, Michael S. The Trials of Oscar Wilde: Deviance, Morality and Late Victorian Society. Yale University Press, 1997. This book analyzes Wilde's trial, focusing on the efforts to punish him for sexual deviance. It also discusses the social and moral concerns prevalent in late 19th-century England.
Mason, Stuart. Oscar Wilde and the Aesthetic Movement. Haskell House Publisher, 1970. This work examines Wilde's distinctive style and his participation in the Decadent movement, which embraced the philosophy of "Art for art's sake."
"Oscar Wilde." Dictionary of Literary Biography Online. Gale Group, 2001. This entry covers Wilde's personal life, career, and literary contributions, offering a list of sources for further research.
Raby, Peter, ed. Cambridge Companion to Oscar Wilde. Cambridge University Press, 1997. This collection places Wilde's work within its historical context, discussing his central themes and the personal perspectives that shaped them. It includes an introductory essay by Merlin Holland, Wilde's grandson.
Sammells, Neil. Wilde Style: The Plays and Prose of Oscar Wilde. Studies in Eighteenth and Nineteenth Century Literature series. Longman, 2001. This study examines Wilde's major works and reviews contemporary criticism. It discusses his influence and stylistic approach, providing in-depth analysis of specific pieces.
Bibliography and Further Reading
Sources
Shewan, Rodney. "Fiction as Ingratiation—First Attempts at a Social Pastoral: 'Lord Arthur Savile's Crime,' 'The Canterville Ghost,' 'Lady Alroy,' 'The Model Millionaire,'" in his Oscar Wilde: Art and Egotism, Macmillan, 1977, pp. 32-35.
Wilde, Oscar. The Picture of Dorian Gray, 1891. Reprint. New York: Penguin Books, 1985.
Further Reading
Ellmann, Richard. "Introduction," in Oscar Wilde's The Picture of Dorian
Gray and Other Writings, Bantam Books, 1982, pp. ix-xix.
Ellmann provides an overview of the themes present in Wilde's significant
works.
Raby, Peter. Oscar Wilde, Cambridge University Press, 1988, pp. 1-11,
54-56.
Raby offers a concise analysis of how Wilde's life influenced his writings and
investigates the various inspirations behind ‘‘The Canterville Ghost.’’
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