Woman in Black and The Withered Arm Essay Example

engaged. The intention is to create dips, build ups, climactic peaks, and eventual "hangover periods" to heighten readers' awareness of the story. This approach includes scenes unrelated to the supernatural, such as the second chapter which sets the stage for supernatural events to come.

The chapter about Arthur Kipps' assignment to Alice Drablow's estate initially provides no indication of the ominous events to come, except for the eerie atmosphere created by the extensively described London fog. This foreboding feeling is reiterated later in the book through depictions of foggy weather, which effectively heighten the pace, tension, and emotion. The build-up to the ghost sightings is marked by intense apprehension and a sense of impending danger, akin to the use of a crescendo in horror movie soundtracks. Despite the brief duration of these climactic moments, Hill prolongs them with detailed descriptions, which can become excessive and akin to logorrhoea at times. Such descriptions recur throughout the book.

The excessive use of language may appear unnecessary at times, but is used to vary the pace and tension in the narrative. The calm after a supernatural event allows the reader to regain their composure before being lured back into a comfortable state. The Withered Arm employs the third person perspective, providing the narrator with a sense of omnipotence to describe the events occurring within the story. The simple and stable environment in the beginning is transformed into an elaborate tale as Hardy introduces bitter emotions of a spurned lover and conflicts between the supernatural and coincidence. Hill categorizes the story as a ghost story, while Hardy leaves room for interpretation.

Instead of defining the story as supernatural, the author

employs a tactic of reverse psychology by emphasizing the importance of coincidence. The exploitation of human instincts is intertwined with this measure. Claiming that it is not a ghost story actually encourages the reader to disbelieve the statement and form their own ideas that it is, in fact, a ghost story. This response is triggered due to instinct. Hardy furthers his argument for coincidence by portraying Conjuror Trendle as joking about his supposed powers and dismissing them as merely luck.

The alterations made by the author to The Woman in Black between its unsolicited first version in 1887 and its revised edition in 1888 reveal a desire to maintain the supernatural as an enigma. Changes such as replacing "she would not explain" with "she could not explain" on page 64, and inserting "dream" before "scene" on page 68 introduce doubt about the certainty of supernatural events. By utilizing a first-person narration style throughout The Woman in Black, the author imbues the story with a sense of recollection instead of simply recounting events. This suggests that the book may have been intended for public performance as a storytelling book, akin to classic Dickensian tales like A Christmas Carol, which are widely associated with storytelling and have become entrenched in contemporary literary culture. Nonetheless, due to its use of first-person perspective, The Woman in Black is presented solely through Arthur Kipps' eyes.

Evolutions in plot are reliant on Arthur's presence, but this is not problematic because all of the major events occur to him. Other characters provide necessary information to the reader through conversations with Arthur. However, these characters are hesitant to divulge all they know, which increases tension

in the story. The characters also serve to increase the sense of comfort in the story. Although Stella is not physically present until the final chapter, she is often referenced as a source of mental comfort for both Arthur and the reader in moments of fear.

By introducing the character of Samuel Daily, Susan Hill provides readers with more insight into Arthur's persona and his capability to love. Samuel serves as a source of physical comfort for Arthur, along with being the only amicable person in Crythin Gifford. Additionally, he reluctantly shares information about Jennet Humhrye, helping Susan Hill to overcome the challenges of telling a first-person narrative.

Arthur is not involved in certain events in a manner that fits the story, while the reader is aware of them. Hardy's characters are utilized differently than Hill's, as they are not immediately labeled as heroes, friends, or villains. Though shorter in length compared to Hill's story, Hardy successfully creates enigmatic personalities for his characters.

Both main characters in the book are female and possess complex personalities that evolve throughout the story. Rhoda, who features predominantly in the first half of the tale, exhibits a disturbing and malevolent fixation on Gertrude initially, leading readers to view her as the ominous supernatural force. However, Hardy creates uncertainty by introducing coincidences that could explain the mystifying events, suggesting that Rhoda may not be intentionally causing them.

In the latter half of The Withered Arm, Gertrude becomes the central character after a six-year gap. She is initially depicted as a kind and attractive woman but later develops an intense interest in "necromancy" to cure her disfigurement. Although the story follows a traditional chronological structure,

the gap signifies a shift in focus towards Gertrude's actions and suggests that her initial ailment did not kill her but left her trapped in an unhappy marriage. Additionally, Hill includes a framing narrative before the main story.

Love is a central theme in both books, providing reasons for events and motivations for characters' actions. In "The Withered Arm," Rhoda's initial hatred for Gertrude stems from love. Gertrude's desire to be loved again drives her to extreme measures, while Jennet Humphry's love for her son transforms her into a malevolent force. Overall, Hardy's supernatural narrative stands out over Hill's due to its greater use of literary analysis, detail, allusion, references, prophecies, and ambiguity, despite its shorter length.