The Sound Of A Pony And TrapWhich details in this chapter of The Woman In Black (Susan Hill) suggest to you that Kipps’ experience may well be psychological and libidinous?

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Arthur’s inevitable retreat from Eel Marsh House leads him to face a perilous, sublime environment, which reminiscent of other Gothic texts, refers to particular effects that this setting has on both the psyche and sexuality of the protagonist. Arthur is clearly distressed by his solitude, and the silence, which he once appreciated, now haunts him. Obviously, threatened by the dominating presence of the woman in black, he continually looks behind him and is weary of surroundings, which he clearly believes can ‘play [a] manner of tricks’ on you.

Arthur is subjected to the same torment as Victor in Frankenstein and is ‘lost at sea’. Like Victor, Arthur confronts a merging landscape and is obviously overpowered by confusion. The mist, commonly used in the Gothic genre, can be associated with uncertainty and change and is described as being cobweb-like, establishing Arthur as the clear victim, entrapped. His failure to pierce the mist outlines the extent to which this is a quest fuelled by a masculine drive and Arthur is subsequently denied penetration, signifying the Woman in Black’s control over him. The mist is clearly libidinous and seemingly rapacious, described as fingers which both tease and confuse him. Its veil-like quality presents ideas of female sexuality as it reminds us of apparel worn by the Woman in Black which essentially smothers him. The setting is clearly new to Arthur and he is ‘unnerved’ and ‘disorientated’ by discoveries into new areas of his sexuality which lie deep within his psyche. The intense depth to where Arthur is travelling is represented by the ‘rising water’ which conceals the route and seems determined to swallow him.

Susan Hill uses the structural narrative to draw on light and sound as a means of creating climatic moments to magnify Arthur’s helplessness. He cannot touch, or perfectly visualize the pony and trap, blinded by an illusion that is out of reach. The pony and trap, like Arthur, are disempowered, vulnerable, and can be easily exploited by the threatening settings. The child’s drowning represents the repression within Arthur’s psyche; Freud indeed suggests that only the ‘timely repression’ of harmful impulses and urges gives the individual the capacity to move on and meet the demands of an ever-changing world. In this case, Arthur’s case sees the revealing of his inner child as a result of the Woman in Black’s dominating sexual presence. In the house, this is further confirmed by his childish ‘sobbing’ and will to switch on every light is the house. These events strongly resemble another Gothic text; in this case the girl in Angela Carter’s Bloody Chamber. Like Arthur, the girl is forced into a journey of sexual maturation which leads to the discovery of corpses, namely the dead wives of her new husband. She too bursts into tears and closes the coffin to prevent any extra exposure to the truth. Psychologically, one could analyze this as regression, in that both characters are unwilling to leave their inner child behind. Arthur then proceeds to partake in excessive drinking, locating himself in the dining room, which is described as ‘dusty’ and this dirtiness represents the corrupt atmosphere around him. In the spirit of most Gothic texts (Bloody Chamber, Turn of the Screw) his maturation requires a quest for knowledge. Arthur explores the hidden corners of his psyche, searching for both explanation and forced penetration. He encounters a room and tries to enter, but once again, he is reminded of his inferior sexual presence and the door is impenetrable, locked without a keyhole. This denial of penetration reminds us of Victor’s attempts to defy and essentially force through the boundaries of nature in Mary Shelley’s Frankenstein. Arthur’s intoxicated state drives him into a dream-like state, and inherits a sudden fear of falling; imagery not dissimilar to that depicted in Alfred Hitchcocks’ motion picture, Vertigo (158, where again, the protagonist (James Stewart) is driven mad by a woman. Arthur finds himself moving between the realms of the conscious and the sub-conscious, losing his ability to distinguish between the two.

The appearance of Keckwick at this point suggests him to be a go-between the worlds of the actual and the supernatural. Arthur opens the door to the absence of mist; however he has clearly endured psychological damage throughout the night. In addition to this, his deteriorated physical state can be viewed as a result of the agonizing sexual and mental journey to which he has been forced. He is clearly confused and the somewhat violent nature of his questions towards Keckwick, present him as somewhat primal and clearly ‘disheveled’ from previous events. Thus we can draw the contrast between Arthur’s state now, abused and unnerved, to before he visited Eel Marsh House. He feels changed by his visit to the house and consequently, feels the effects will never leave him, thus arising implications of his impending maturation and the development of his mature self. This is further confirmed by his willingness to come to grips with his fears and accept the reality of the supernatural; it is after all these ghostly apparitions, which have caused this reaction within him.

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Arthur sweats as he sleeps, still affected by the Woman in Black, whose presence as an evasive, libidinous entity, sexually exploits him and reveals her once again, to be the dominant, penetrative force within the novel.

One could compare these events to that of Jonathan Harker in Bram Stoker’s Dracula. Harker, like Arthur, is alone in dangerous and threatening surroundings, held prisoner by Count Dracula in his castle (Chapter ). On realizing his apparent victimization, Harker, tries to escape, essentially attempting to penetrate the castle walls. Failure to do so leads him into a light sleep (like Arthur) and events which follow are questioned by Harker, to be dream-like in nature. He is confronted by sexual danger and dominance in the form of three female vampires. They like, the Woman in Black, overpower the protagonist’s sexuality and force Harker, like Arthur, to remain motionless as a result their seductive qualities. This female aggression in both novels is interpreted by the protagonist as fearful, but yet alluring and attractive. Both Harker and Arthur are weakened by overpowering female presence, unable to react or protect themselves from the threat to their sexuality.

To conclude, one can view Arthur’s experience as clearly a journey into sexual maturation at the expense of grievous psychological harm. He is forced to dig deep within the depths of his psyche to reveal and banish his inner child. This journey is common among the everyday male; however it does not involve such intense horror. The Woman in Black presents herself as both a dominant and fearful feminine force. Arthur’s initial attraction to the woman and will to forcefully penetrate Eel Marsh House, reveal to us his boyish sexual drive and firmly establish him as the victim of one of the most horrific of all Gothic monsters, the empowered female.



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