Rosanna and the Shivering Sands

Whitney Heifetz
Close Reading: The Moonstone
October 29, 2006


Rosanna and the Shivering Sands

“It is more lonely to me to be among the other servants, knowing I am not what they are, then it is to be here.”
-Rosanna Spearman (25)

In Wilkie Collins’ “The Moonstone”, Rosanna Spearman is first introduced to us in Gabriel Betteridge’s narrative. From the start she is described as a thief “with the additional misfortune of having one shoulder bigger than the other.” (22) Immediately this distinguishes her as an outcast within the proper English Society that Lady Verinders’ household represents. Her “otherness” is further illustrated when Betteridge states that “there was just a dash of something that wasn’t like a housemaid, and that was like a lady, about [Rosanna].” (22) It is obvious that Rosanna does not have a clear place in the Verinder household. She is not like a housemaid but is not a lady, which leaves her floating somewhere in between. Furthermore, the place Rosanna is most associated with is the Shivering Sands, described by Betteridge as “a lonesome and a horrid retreat.” (23) It is through the association between Rosanna and the Shivering Sands that Rosanna’s character is further developed.
Betteridge explains that “At the turn of the tide something goes on in the unknown deeps below, which sets the whole face of the quicksand shivering and trembling in a manner most remarkable to see…” (22) This description ties the sands closely to a sexual experience. The “something” happening in the “deeps below” is representative of intercourse; the trembling and shivering of the quicksand is like a natural orgasm. The depiction of the sands representing sex as remarkable yet still horrible was a common contradiction in the Victorian era. Sex for procreation was a remarkable experience but sexuality was unnecessary if used for anything other than making a baby. Sexuality in women was repressed. The Shivering Sands externalize Rosanna’s sexual frustration. It is there that Rosanna feels the least alone, associating the sands with a feeling of companionship.
While Rosanna is staring at the sands she comments to Betteridge, “I think that my grave is waiting for me here.” (24) This statement foreshadows her upcoming death. Rosanna eventually returns to the Shivering Sands, the place that she can relate to most, to commit suicide. Here the sands are intertwined with death. Rosanna states that the quicksand, “looks as if it had hundreds of suffocating people under it-all struggling to get to the surface, and all sinking lower…” (25). Like the suffocating people trying to escape the quicksand Rosanna is trying to overcome her past. She wants to move on but believes that you can take the girl out of thievery but you can not necessarily take the thief out of the girl. This is apparent when she points to the lappet of Betteridge’s coat, earlier she had removed a stain from the coat and all that remained was a dull place; “The stain is taken off,” she said. “But the place shows….” (24)
Throughout “The Moonstone” Rosanna Spearman struggles with her past. Although she has reformed her ways no one can erase the past. We meet Rosanna at the Shivering Sands in the beginning of the novel and it is only appropriate that we see her there last when she takes her life.


Works Cited

Collins, Wilkie. The Moonstone. New York: Oxford University Press, 1999.

Selflessness in the novel The Moonstone

The leitmotif of self-sacrifice echoes throughout the novel The Moonstone by Wilkie Collins. The theme of self-sacrifice is evident from the very onset of the novel with the introduction of the three Brahmins in the prologue, who are destined by their sacred moon deity to guard the moonstone “to the end of the generations of men.”(2). The sacrifice entailed in this devout stewardship is first realized, when in the prologue it’s discovered that John Herncastle murdered three of the Brahmins in the original theft of the moonstone. The fact that the Brahmins would give their lives in an attempt to protect the diamond for their god demonstrates their selflessness.

However, the degree of self-sacrifice becomes even more poignant when the second generation of the three guardian Brahmins, who are descended from the murdered Brahmins, travel to England to retake the diamond. They hope to take back the diamond from Lady Verinder whom has been given the stolen diamond by her uncle John Herncastle, whom was the original thief of the Indian gem. Proof of their commitment to their cause is exhibited when through the merit of their selfless devotion the Brahmins choose to relinquish their lofty high caste roots in India. They do this in order to more covertly pursue the gem to England in the guise of ordinary low caste Indians, “who had forfeited their caste in the service of their god the god had commanded that their purification should be the purification by pilgrimage” (465). Another aspect of their sacrifice is the “purification by pilgrimage” (465), for in the conclusion of the novel the three Brahmins who forsook their high caste to retrieve the diamond for their god, are nonetheless still punished for violating their high caste. As punishment the Brahmins are forced to go separate ways on a pilgrimage to all the shrines of India. The Brahmins are obligated to continue the purifying pilgrimage until the day of their death.

This forfeiting of status is an especially powerful act in the context of this novel, due to the power and privilege social status so clearly confers on the characters throughout the course of the story. An example of the unequal class power relations within the novel can be found in how the servants are the first to be investigated and suspected, while the wealthy upper class members of the household are initially free of suspicion.

Another example of self-sacrifice in The Moonstone is Rachel Verinder’s altruistic act of concealing Franklin Blake’s guilt. Franklin had unconsciously stolen the moonstone but had no recollection of committing the crime. Yet in spite of Rachel having actually witnessed him commit the felony she nonetheless, out of love for Franklin chooses to cover up his wrongdoing, and as a result jeopardizes her own reputation. The realization of the risk she is putting herself in is evinced, when she says to Franklin, “I have kept your infamy a secret… And I have suffered the consequences of concealing it.”(339). Unfortunately Rachel’s sacrifice is not the only one borne from romantic passion. The servant Rosanna surpasses Rachel’s act of selflessness, as she also bears the brunt of much suspicion and investigation in order to protect Franklin. Yet Rosanna’s sacrifice is rendered more tragic by the fact her act of love has no chance of being returned. This is not just because of class difference between her and Franklin, it’s also for the more hurtful reasons of Franklin simply possessing no interest whatsoever in Rosanna. This is in part due to the fact Rosanna has the unfortunate attributes of a misshapen shoulder and unattractive looks. In spite of her unrequited love Rosanna takes more drastic action than Rachel to protect Franklin, as she, at great risk to herself, destroys a nightgown which may have implicated Franklin Blake in the crime. Rosanna even creates a copy to hide the fact she destroyed the damning paint stained gown. Rosanna’s commitment to Franklin borders on delusional obsession, and her delirious love of Franklin is captured in the lines of her suicide note which read, “My work, sir, was to make your bed, and to put your room tidy. It was the happiest hour I had in the whole day. I used to kiss the pillow on which your head rested all night” (313). Rosanna in the end, after hearing a conversation where Franklin expresses his indifference and even dislike for her, decides to end the misery of her perpetual rejection through suicide.

The Moonstone reveals many examples of individual self-sacrifice in the service of attaining a perceived greater good. The Brahmin priests sacrifice themselves nobly for their god, Rachel conceals Franklin’s guilt at great cost to herself in order to protect her lover and thereby secure their future together, and Rosanna tragically sacrifices herself in order to save the reputation of the man she loves. It seems Wilkie Collins is illustrating that human beings can be capable of great deeds that transcend self interest when love, or the idea of something greater than themselves, is involved.


Works cited: Wilkie Collins, The Moonstone, Published Oxford
Essay by Mark Holt

0535529

Misleading Introductions

Paula Shyba
0530840
Close Reading
Wilkie Collins’ “The Moonstone”


In a novel where descriptions of characters and their interactions with one another are prominent over the actions that take place, it was necessary for Wilkie Collins to spend a great deal of attention on character development. Because the story’s objective is to provide clues through characters insights of each other in order to “solve” the mystery, the impressions that different characters have of each other are extremely important. People in the novel tend to easily judge a person to be good or bad based solely on first impressions, but because the details we are provided about each character are filtered through the narrator’s biases, it is up to us, as readers, to deem who is and who is not to be trusted.

Godfrey Abelwhite and Ezra Jennings, two key characters in Collins’ novel, are initiated into the story with very different opening descriptions. As inhabitants of the social setting that the novel takes place in, the two could not be on further ends of the spectrum. Betteredge’s description of the eligible Godfrey Abelwhite almost exactly opposes Franklin Blake’s depiction of the Jennings. Godfrey’s “beautiful red and white colour” (54) is contrasted with Ezra’s “gipsy-complexion“ (364), and his “head of lovely long flaxen hair” (54) is the other extreme of Ezra’s “extraordinary parti-coloured hair” (364). Descriptions exaggerating the differences between the two characters go much further than appearances; their appeal to the general public also differs greatly. Betteredge, in describing Godfrey Abelwhite’s social role, states, “He loved everybody. And everybody loved him” (55). Ezra Jennings, however, fits poorly into the social populace, being perceived as Franklin Blake as seemingly “unpopular everywhere” (364). Upon examination of only the first impressions of the two characters that are provided by Gabriel Betteredge and Franklin Blake, it might not be unreasonable to label Godfrey Abelwhite as “good” and Ezra Jennings as “evil”. After all, these are the intuitions that the general social environment has of the two.


As the novel progresses and the true natures of both men are gradually revealed, the reader is forced to re-examine the existing judgments that have been placed upon the characters. Franklin Blake is quick to decide that Ezra is a person “in whose delicacy and discretion [he] could trust” (365-6). This makes the reader adopt the same views, but only if they already have assumed the Blake himself is a trustworthy character. Interestingly, Ezra Jennings is an excessive opium user. In most instances, such a heavy addiction to the drug would hinder a person’s credibility, but as the product of an author who was a user himself, Ezra Jennings is actually given more reliability because of parallels drawn between himself and the author. Abelwhite, however, is plainly revealed to be a fraud, leading a double life and attempting to rob the Verinder’s of their heirloom. The man who Betteredge felt has everything going for him ends up being the malevolent, immoral antagonist.

Wilkie Collins goes against conventions by emphasizing the fact that appearances may not always be how they initially seem. Because the reader is so involved in deciphering the clues that are presented throughout the novel, Collins manipulates the facts in order to keep them guessing at the true motives of each character. In the end, the real appeal of the novel is not the reveal of the culprit, but the level of engagement that the reader must adopt in order to work out each fact’s importance and each character’s trustworthiness.

The Shivering Sands -- Megan Kowalewich

Rosanna Spearman, a reformed thief hired upon release from a Reformatory as a housemaid by Lady Verinder is a multi-faceted character. Her character tends to stand out as very mysterious and morose. She is continuously feeling drawn to the piece of nature (the sands) that reflects her personality and thoughts relative to the shame of her past life. The shivering sands that shift with the tide suggest to the reader the many different trials or life challenges Rosanna Spearman faces.
Collins effectively uses descriptions of nature to arouse emotion in the minds of his readers. There is significance with reference to the shivering sands that relates to Rosanna’s character. The idea of shivering creates a sense of anxiety or fear associated with suspiciousness. Rosanna seems to be socially and biologically uncertain - where did she belong? It seems as though she did not have a true sense of self once she entered the Reformatory and later when hired as a housemaid. “It’s more lonely to me to be among the other servants, knowing I am not what they are.” (page 25). Rosanna seems to possess a fear of returning to her old ways, in essence, going back to what she knows best. The uncertainty and insecurities about her new direction in life are apparent in her profession of loneliness and fear of being discovered for the person she had been in her past.
Most often the image that accompanies shivering is the body’s self-warming mechanism. Another, is shivering associated with sexuality, in this case female sexuality to be specific. “A smile on his face that might have set the Shivering Sand itself smiling at him in return.” (page 26). Franklin Blake’s arrival is described as having an effect on the Shivering Sand but actually was the reflected reactions of nervousness and excitement on the part of Rosanna Spearman. Most women of her age at that time in history were expected to have been married and settled within their own social class. Functioning as a woman who has been accused of and sentenced for a crime that she had committed probably made conventional courtship and subsequent entry into a committed relationship highly improbable due to the social norms of the time.
The idea of the Shivering Sand portrays a disturbing hidden meaning. Rosanna Spearman, a twenty-five year old young woman comments on her thoughts: “Sometimes Mr. Betteredge, I think that my grave is waiting for me here.” (page 25). The image of sand is often used to symbolize the passage of time such as in an hour glass. As she is patiently watching the tides shift, the author is drawing a parallel of an apparently seamless passage of time and space. Rosanna is attempting to distance herself from her past as easily as the tide erases footprints from the sand. As the tide changes, so does the appearance of the beach surface much like the changes made to Rosanna’s life. “It looks as if it had hundreds of suffocating people under it - all struggling to get to the surface, and all sinking lower and lower in the dreadful deeps! Throw a stone in, Mr. Betteredge! Throw a stone in , and let’s see the sand suck it down!” (page 25) It may seem as though she wanted to end her life, but it was only the death of her old ways and the start of a new and improved Rosanna Spearman.

Imperial Propaganda and the Moonstone

Wilkie Collin’s The Moonstone has been acknowledged as containing imperial propaganda through out, yet if one looks even closer, they will no doubt find an alternate reading which conveys a discrete dispute to the imperial frame of mind. The opening and closing of the novel, the prolog and the epilog, both take place in the British colony of India with the majority of the narrative occurring in London, England. In the beginning, the precious Jewel is stolen form a temple in India by middle class English men. Wilkie Collins links the theft of the jewel with violence and in turn associates these two degrading actions with that of colonial administration.

Towards the beginning of the novel, Gabriel Betteredge states that the inviolability of the English house has been “invaded by a devilish Indian diamond.’ (p67) Yet the prolog clearly points out that it was the invasion of the Indian homeland by the British that resulted in the misplacing of the scared Jewel. The three Indians are portrayed as a huge stereotype with attributes given to them as having ‘the patience of cats...the ferocity of tigers’ (p108), both cats and tigers being signs of the Indian culture. The value placed on the diamond in both cultures has very contrasting stand points. In the English culture the worth is estimated in terms of its monetary value where as in the Hindu culture the stone is measured only in its spiritual value. The colonial leaders rationalized there actions by reasoning that they were enlightening a culture they saw as inferior. The colonialists were taking control of the Indian markets and spreading Christianity through out the country. Colin’s uses the Jewel to convey his thoughts of imperial British rule. The jewel comes to England and causes distress among all who come into contact with it, yet in India the Jewel is held in sacred and seems to bring peace and calm to everyone involved with it there. If English society can not deal with this jewel without backstabbing, lies and deceit ensuing, what right do they have in viewing themselves as superior to the India society?

Even the English social order cannot solve the case of the moonstone. Ezra Jennings is the man responsible for cracking the case. Jennings is an outcast in the English society and wasn’t even raised in England; he was raised in an unnamed colonial outpost. The fact that a man raised in an English colony, such as India was at the time, constructs the final plan for discovering the truth points to the deeper imperial meaning through out the novel. Colin’s seems to feel that maybe Britain isn’t capable of controlling another nation because it can’t deal with its own problems. This is demonstrated overall with the problem the moonstone creates and not even sergeant Cuff can solve the riddle.

Opium, the drug that causes the problem in the first place, is that of an orient origin. Collins himself was in a state of heavy opium usage himself during the period when he wrote the Moonstone, so it’s no shock that the drug gets a fair deal of attention in the story. While The Moonstone is primarily a tale of , religious corruption, family secrets and an English society with a central attribute of remorse, the use of colonial markers and the subversion of stereotypes reveal that for Wilkie Collins there was an inherent link between a malfunctioning society and colonial exploitation.

Superiority to Reason: A Question of Faith in the Moonstone

Lise Gaston
October 29th, 2006
English 200C

“ Superiority to Reason:” A Question of Faith in The Moonstone

Wilkie Collins’ The Moonstone reflects Victorian society’s struggle with reason and faith: the value of scientific reason versus faith in God and in a literal Bible. The novel primarily explores secular faith, which eventually triumphs over reason. The first narrator, Gabriel Betteredge, comically professes his distaste for reason, and his “unreasonable” claims ironically prove to be correct. Other characters display varying levels of faith in each other; the reader has to decide who and what to believe. The Moonstone is a work of fiction, and Betteredge’s plea for blind belief may symbolize a plea for fiction in general, among a society that values usefulness and reason.
Betteredge instructs the reader on how to avoid “many troubles of the vexing sort:” “[c]ultivate a superiority to reason, and see how you pare the claws of all sensible people when they try to scratch you for your own good!” (166). He says this in defiance of Sergeant Cuff’s “reasonable” deduction that Rachel Verinder stole the Moonstone. Betteredge’s attitude suggests that the reader need not accept the logical answers in this narrative either. The reader must depend on what the characters say about themselves, and about other, to come to his or her own conclusions. It is apparent, for example, that Betteredge’s “unreasonableness” is caused by his knowledge of Rachel’s character and by his own attachment.
Rachel herself ultimately chooses faith over reason, while the foolish Miss Clack shares Betteredge’s “superiority” from the beginning. Rachel witnesses Franklin Blake’s theft of the diamond, giving her firm and reasonable proof that he is guilty. However, when Ezra Jennings hypothesizes a cause of the theft, Rachel instantly believes in Blake’s innocence without acquiring proof. Like Betteredge, her belief stems from attachment. Miss Clack’s belief comes from her religious leanings and feelings of self-importance. She categorizes herself in a group of “true Christian[s]” who “are above reason” (227). This attitude, which creates amiable naivety in Betteredge and shows the strength of Rachel’s attachments, endows Miss Clack with arrogance and stubbornness. Unlike Betteredge, who states his mind but does not particularly aim to convince others, Miss Clack’s professed goal is to convert those around her to her way of thinking. Miss Clack’s imperviousness to reason causes her to impose herself on both the reader and the characters, and, though laughed at like Betteredge, she is not likeable.
The Moonstone contains another type of belief: the belief in the supernatural curse of the diamond. Whether the characters have faith in the curse is difficult to discern: John Herncastle, for instance, lives his life in fear, but is it fear of the curse or of the concrete threat of the Indians? Similarly, the diamond brings misery into the main characters’ lives: is the stone to blame, or is it strictly the “influence of character[s] on circumstances,” as Collins states in his Preface?
Betteredge’s initial statement about “superiority to reason” not only suggests how to read The Moonstone’s unpredictable plot, but also represents the “superiority” of novels over “reasonable” texts. Though novels were popular in Victorian society, many people did not consider them educational or productive. Though Betteredge is not the most intelligent character in The Moonstone, his irrational ideas of Rachel’s innocence are ultimately proved right, while the ever-practical Cuff is wrong. Betterdge’s stance against reason is victorious: are novels, too, portrayed as “superior” to the useful and practical Victorian texts? The affable Betteredge, with his utter faith and reliance in Daniel Defoe’s Robinson Crusoe, would agree. The detestable Miss Clack would, of course, be in agitated opposition.

Works Cited
Collins, Wilkie. The Moonstone. New York: Oxford University Press, 1999.

Obsessions

A recurring theme in The Moonstone is infatuation, or at least an unstoppable dependence on an object or person. Many of the characters are plagued by a sort of addiction that results in them behaving illogically, and not always in their best interests. Two passages from the book that illustrate this theme are the section from Chapter One in which Gabriel Betteredge discusses his favourite book, Robinson Crusoe, and the section from Chapter Four and Five of the third narrative that comprises the long letter from Rosanna to Franklin Blake. The multiple narrators in the novel and the very different ways that they speak force the reader to notice differences in diction and syntax.

Gabriel Betteredge adores his copy of Robinson Crusoe. He expresses his need for the book by saying “when my spirits are bad—Robinson Crusoe. When I want advice – Robinson Crusoe. In past times when my wife has plagued me; in present times when I have had a drop too much on the strength of it– Robinson Crusoe” (9). This passage has a kind of rhythm that emphasizes the last two words of each phrase – the name, Robinson Crusoe. It also repeats the name of the book over and over; the title is mentioned six times in a short paragraph. These two elements of the passage express his obsession. His word choice in the sentences surrounding that passage demonstrate his class position. He uses colloquial language such as “a heap of books” (8). He talks describes the book as “price four shilling and sixpence, bound in blue, with a picture into the bargain” (9). The fact that Betteredge is describes the book in economical terms and as a bargain shows that he is concerned about saving money, and again expressing his class position. Betteredge also attempts to prove himself to the reader, saying that “though turned seventy, I possess an active memory and legs to correspond” (8) in order to develop some sort of credibility. He also says that though he greatly believes that Robinson Crusoe is the greatest book the reader is not to take that as “the saying of an ignorant man” (9). However Betteredge is ignorant for he is oblivious to things that are obvious to the reader and to his daughter, for example Rosanna’s love for Franklin Blake. The book is sole source of answers and he believes that it can answer everything and solve all of his problems. Betteredge is obsessed with Robinson Crusoe, and he turns to it for answers as opposed to asking questions of experts. He believes that, through the aid of Robinson Crusoe, he knows better than anyone would expect of him.

Rosanna is in love with Franklin Blake throughout the book, and she sacrifices herself in an attempt to save him from conviction. Rosanna expresses this love in the letter she writes. The obsessive nature of her unrequited love leads her to address him in terms of self hatred. She writes that she “won’t trouble you with much about” (310) herself, how “there is no need to tell such a common story as this” (310) and she refers to herself as disgraceful. She shows that she does not think herself worthy of Franklin Blake, or her letter worthy of being read by him. She interjects throughout the letter drawing attention to her emotions, saying “Try not to lose patience with me, sir. I will get on as fast as I can with what is sure to interest you.” (310) and “you never noticed it more than you noticed me.” The interjections are colloquial, and establish Rosanna’s position as a service as well as reaffirming the sense of her self hatred. Rosanna’s obsession with Franklin Blake is expressed by the passage “You were like a prince in a fairy story. You were like a lover in a dream. You were the most adorable human creature I had ever seen.” The syntax puts emphasis on the word you, showing her obsession with Blake as well. The repetition of the phrase "you were" sets up the sentence so the reader pays special attention to the second half of it. Her word choice demonstrates her obssession

Gabriel Betteredge, At Your Service

Fabienne Calvert Filteau
Eng 200C
2006-10-30

In The Moonstone, a Victorian detective novel by Wilke Collins, Gabriel Betteredge, “house-steward”, is presented as a guiding voice through the multi-narrated mystery. Although the structure of the novel entices the reader to question the reliability of each narrator, Collins’ use of language and detail instills a sense of trust in Betteredge’s version of the tale, right from the reader’s initial encounter with this character.

Betteredge is introduced as a man with a Robinson Crusoe fixation of biblical proportions. His narration begins with a quote from Crusoe. Betteredge first directs the reader to the page where the quote can be found, then presents the quote, then continues, with great specificity, to explain its pertinence to the day’s events, depicted through a conversation with Franklin Blake. Collins suggests Crusoe’s significance in Betteredge’s life when he writes, in the third paragraph, “Only yesterday, I opened Robinson Crusoe at that place. Only this morning (May twenty-first, Eighteen hundred and fifty), came my lady’s nephew…” (7). In this structural unfurling of the story’s initial paragraphs, Collins has already planted the necessary seeds which indicate an honest nature in Gabriel Betteredge. There is an endearing simplicity in a character who relates his life to daily doses of Defoe’s wisdoms; there is an undeniable affability in one who perceives passages from Robinson Crusoe as premonitions.

In this first chapter, Betteredge walks the reader step-by-step through the morning’s events. In doing so, he also walks the reader as methodically through his own musings without hesitation. By providing the reader with subtle admissions to Betteredge’s shortcomings, Collins suggests that the house-steward is delivering an uncensored version. This integrity is evident when Betteredge pauses briefly from his relation of the conversation with Blake to inform the reader as to why he agreed with the man’s proposal. He says, “Not perceiving his drift yet, and thinking it always desirable for the sake of peace and quietness to be on the lawyer’s side, I said I thought so too” (7). With this sentence, Betteredge presents himself as a law-abiding citizen who likes tranquility. More importantly, he divulges that he doesn’t quite follow Blake’s “drift” but agrees with him anyway (7). There is an unrestricted human honesty in this statement which sows the notion that if Betteredge is not quite witty enough to omit his lack of astuteness, he certainly is not capable of censoring relevant details pertaining to the crime.

By writing Betteredge as a character with a rambling tongue and wandering mind, Collins alludes to a trustworthy transparency in this narrator. The structure, voicing, and presentation of certain details in the first chapter of Betteredge’s narrative all work toward building the house-steward as an honest figure. Collins proves that this character is a reliable source to refer back to, if one can withstand Betteredge’s bumbling antics long enough to sift his digressions for the ever-present truths.

Collins, Wilkie. The Moonstone. New York: Oxford University Press, 1999.

Ezra Jennings and Rosanna Spearman, Alike

In Collins’ classic novel ‘The Moonstone’ a brief light is shed upon the lives of two characters’ that face everlasting rejection and loneliness. Rosanna Spearman is an emotionally driven character, who by a sad turn of events growing up, was driven out of her previous life of love and comfort. At an unfortunate attempt to further survive her dismay, Rosanna finds herself guilty upon the sin of theft. Plagued in her societies mind for eternity Rosanna found her life full of regret. She endlessly longed to find a companion who would bring her the happiness she so desired. Rosanna believed she just might have found her opportunity when the fine Lady Verinder gave her a second chance! However she found herself torn between her hope for joy and the views of her society that found her to be undeserved. In her darkest hour Rosanna took her own life, thereby succumbing to the deepest depths of loneliness imaginable to the human creature. In her own words Rosanna confesses: “ Those thoughts came back to me now. I wondered in myself which it would be harder to do, if things went on in this manner- to bear Mr. Franklin Blake’s indifference to me, or to jump into the quicksand and end it for ever in that way?” (Collins, 323)
During the novel Collins creates another character that portrays the harsh reality of loneliness and self-loathing, his name comes in the form of Ezra Jennings. Through this character Collins sheds light on important racial issues apparent in the Victorian society. Like Rosanna, Ezra too finds himself rudely rejected by the people who encounter him throughout his experience. Collins describes Ezra using the term: “gipsy darkness” when referring to his complexion: “His nose presented the fine shape and modeling so often found among the ancient people of the East, so seldom visible among the newer races of the west.” (Collins, 319) Even during a time when Ezra is unselfishly helping his former neighbor, there is a sense of suspicion that constantly surrounds his person, challenging even the reader to evaluate his motives. “From this strange face, eyes…took your attention captive at their will…His soft brown eyes looked back at me gently; and he met my involuntary rudeness ” (Collins, 319) Despite the hardships these characters have faced during their previous experiences, they both hold an earnest sense of character and try to treat others as they only wish to be treated. When referring to Rosanna, Collins wrote: “She had lived a miserable life, Mr. Betteredge- vile people had ill-treated her and led her wrong- and it hadn’t spoiled her sweet temper. She was an angel.” (Collins, 184) Rosanna experienced what she felt to be love for the character Franklin Blake. Despite her deep sorrow Rosanna experienced a moment of bliss that came over her entire body. “Her complexion turned of a beautiful red, which I had never seen in it before; she brightened all over with a kind of speechless and breathless surprise.” (Collins, 26) Rosanna in an instant saw a glimmer of hope in her world of dreary with the surprising presence of none other but the character Mr. Franklin Blake. When comparing these two characters it is interesting to reveal that Collins arranged for both of their souls to be deeply affected by the presence of Mr. Blake. “Is there really something in him which answers to the yearning I have for a little human sympathy- the yearning which has survived the solitude and persecution of many years…” (Collins, 393) Through Ezra’s character it is possible that Collins is challenging the reader to consider the continuum of the human spirit. Neither time nor ill experience has caused this yearning of Ezra’s soul to fade, possibly suggesting a sense of an eternal hope that we are not alone. However, in a different light it could also be this very idea that drove Rosanna to take her own life; for she could not bear the notion that loneliness was an inevitable part of the human condition.

Joanna Montis English 200CCollins, Wilkie. The Moonstone. New York: Oxford University Press, 1999.

The Case of Two Wills

Courtney Blatchford
Student #0631455
October 29, 2006


In the novel, The Moonstone, Wilkie Collins demonstrates fantastic story telling skills, by giving his readers a massive amount of information, some important to the discovery of who stole the diamond, and other information, that is not so important, although it might seem very crucial when it is first introduced. Some of the most important information Collins bestows on his readers is pushed aside at the thought that it isn’t as important, and it isn’t until the novel is finished, and all is revealed, that Collins shows his readers exactly why this seemingly passing information was important in the first place. An important example of this case is in the solicitor Matthew Bruff’s narrative, in which he introduces, and discusses the Wills of Sir John Verinder and his wife; and by doing so, reveals the motives of Godfrey Ablewhite.

One of the most important details of the novel, which doesn’t appear important at the time, is the description of Lady Verinder’s Will, as well as her late husband’s. By describing the two Wills, Collins is demonstrating the different circumstances of mother and daughter. One of the most unusual aspects of Sir John’s Will is the fact that he leaves everything to his wife, without having a guardian or anyone else to keep an eye on Lady Verinder, and make sure that she spends his money wisely. This gives Lady Verinder a great deal of freedom, as she is allowed to make her own decisions regarding her estate, without having to hold herself accountable to anyone but herself. To have this amount of power of herself and her possessions was unheard of in that day and age, but as the solicitor Mr. Bruff admits, the late Lady Verinder proves herself more than capable of this action. “In the majority of cases, I am afraid that I should have felt it my duty to my client to ask him to reconsider his Will. In the case of Sir John, I knew Lady Verinder to be, not only worthy of the unreserved trust which her husband had placed in her . . . – but to be also capable of properly administering a trust.” (p. 265). It is interesting to note that in this passage, which describes Lady Verinder’s

Lady Verinder’s Will is very different from her husband’s, as she has organized her estate in a way so that her daughter has no control over her own money, but is instead given money at certain intervals, as well as having a guardian over her and her estate. The reason for this action, does not however appear to be because Lady Verinder does not believe her daughter incapable of looking after her own money, although Rachael’s reaction to the loss of her diamond has put a lot of things into question. However, the reason appears to be that Rachael has just become of marriageable age, and already, her attention is sought by two young men. If Rachael were to marry, all of her money would instantly become her husband’s, and she would no longer have any control over it. By imposing the limits to her will that she does, Lady Verinder has insured that her daughter will not be taken advantage of. And even though this doesn’t give Rachael the same amount of freedom that her mother had, at least it saves her from a marriage made for money.

By describing the two wills in Bruff’s narrative, Collins is demonstrating to his readers both the different circumstances that are facing Lady Verinder and Rachael; but at the same time, he also reveals why Godfrey’s motive, which is to get as much money as he possibly can at the earliest date possible, cannot be achieved through a marriage to Rachael, as he will have no control over her money if he does marry her.

The Hidden Truths of the Victorian era

Cassandra Parker

English 200C

Among other things, the Victorian era is marked by the tremendous growth of industry experienced at that time. With this growth, one might assume that much of the population live a financially comfortable life, however we know this was not the case and that much of England lived in extreme poverty. At the time, this poverty was not the image that those in power wanted put forth to reflect their state, so it was masked by an image of a wealthy powerful nation. Hiding the truth and the true images of life at in the era went as far as city development, where in major cities prosperous storefronts lined the streets, masking the ghettos that covered much of the area behind them. In using the detective genre in The Moonstone, Wilkie Collins creates a perfect forum for cleverly reflecting this Victorian theme of masking or hiding the true nature of things through this piece of literature.

The detective mystery in The Moonstone portrays very clearly how things are not always as they seem or first appear. In the search after the disappearance of the moonstone, things that are not at first apparent are often things reveal the truth or are the most valuable evidence. For example, the paint smear left on the back of Miss Rachel Verinder’s door is dismissed by Superintendent Seegrave as un-important, when in fact Sergeant Cuff later discovers it to be a vital piece of evidence in his investigation. Sergeant Cuff himself does not appear to be very insightful in his discoveries and unusual in his processes upon first impression. While he remains rather unusual, it does become apparent that he is more than they judge him for when he unearths important information in the case. The most important of the hidden truths is the ultimate point of the detective novel, in this case, who stole the moonstone. Hidden behind an intricate web of lies and an image of an upstanding citizen is the culprit, Mr.Godfrey Ablewhite. This hidden truth is the most reflective of Victorian society in the novel. Behind the image of prosperity, as projected by both England and Godfrey, is success, but only at the price of others. In the case of England, it is all those who worked and suffered at the cost of bettering the economy, and for Godfrey, it is those who were judged or accused wrongly and the lives that were damaged in the process.

The Moonstone also reflects the hiding that Victorians did on a more personal level. Rosanna Spearman’s feelings for Mr. Franklin Blake remained hidden due to the pressures and constraints of the classes in Victorian society. In this case, not being able to share the truth with the world caused her to make assumptions on his feelings. Eventually, her hidden emotions and her inability to share them with the world drove her to end her own life. Another case of characters hiding the truth is Mr. Blake’s unintentionally hiding the fact that he took the moonstone from Miss Rachel’s room. Because he was unknowingly under the influence of opium, Mr. Blake was not even aware that during the search for the moonstone that he was at the centre of the theft. This is a reflection on the Victorian society in that at times, people masked things unintentionally. For example, because of the way people of the era were socialized, things that might not have been in accordance with the Victorian way of life were hidden, but there was no thought to it. It was not even apparent to them, as it was not to Mr. Blake, that in fact they were hiding the truth.

The Hidden Truths of the Victorian era

Cassandra Parker

English 200C

Among other things, the Victorian era is marked by the tremendous growth of industry experienced at that time. With this growth, one might assume that much of the population live a financially comfortable life, however we know this was not the case and that much of England lived in extreme poverty. At the time, this poverty was not the image that those in power wanted put forth to reflect their state, so it was masked by an image of a wealthy powerful nation. Hiding the truth and the true images of life at in the era went as far as city development, where in major cities prosperous storefronts lined the streets, masking the ghettos that covered much of the area behind them. In using the detective genre in The Moonstone, Wilkie Collins creates a perfect forum for cleverly reflecting this Victorian theme of masking or hiding the true nature of things through this piece of literature.

The detective mystery in The Moonstone portrays very clearly how things are not always as they seem or first appear. In the search after the disappearance of the moonstone, things that are not at first apparent are often things reveal the truth or are the most valuable evidence. For example, the paint smear left on the back of Miss Rachel Verinder’s door is dismissed by Superintendent Seegrave as un-important, when in fact Sergeant Cuff later discovers it to be a vital piece of evidence in his investigation. Sergeant Cuff himself does not appear to be very insightful in his discoveries and unusual in his processes upon first impression. While he remains rather unusual, it does become apparent that he is more than they judge him for when he unearths important information in the case. The most important of the hidden truths is the ultimate point of the detective novel, in this case, who stole the moonstone. Hidden behind an intricate web of lies and an image of an upstanding citizen is the culprit, Mr.Godfrey Ablewhite. This hidden truth is the most reflective of Victorian society in the novel. Behind the image of prosperity, as projected by both England and Godfrey, is success, but only at the price of others. In the case of England, it is all those who worked and suffered at the cost of bettering the economy, and for Godfrey, it is those who were judged or accused wrongly and the lives that were damaged in the process.

The Moonstone also reflects the hiding that Victorians did on a more personal level. Rosanna Spearman’s feelings for Mr. Franklin Blake remained hidden due to the pressures and constraints of the classes in Victorian society. In this case, not being able to share the truth with the world caused her to make assumptions on his feelings. Eventually, her hidden emotions and her inability to share them with the world drove her to end her own life. Another case of characters hiding the truth is Mr. Blake’s unintentionally hiding the fact that he took the moonstone from Miss Rachel’s room. Because he was unknowingly under the influence of opium, Mr. Blake was not even aware that during the search for the moonstone that he was at the centre of the theft. This is a reflection on the Victorian society in that at times, people masked things unintentionally. For example, because of the way people of the era were socialized, things that might not have been in accordance with the Victorian way of life were hidden, but there was no thought to it. It was not even apparent to them, as it was not to Mr. Blake, that in fact they were hiding the truth.

A Jewel of Great Cost

English 200c
Dr. Leonard Shlensky
October 30



It has been debated whether or not Franklin Blake’s theft of the diamond is symbolic of the theft of Rachel Verinder’s virginity. Rachel receives the diamond on her eighteenth birthday, a day that is representative of her coming into womanhood and a signal of her availability as a sexual being; it is on this day that she receives her first proposal of marriage. The Moonstone is emblematic of rite of passage and of this new feminine identity which she is expected to assume. It is also symbolic of sexual innocence. A fallen woman was considered unmarriageable and would have no prospects and no future.

Rachel Verinder’s reaction to the theft of her diamond seems to be inordinate and puzzling to everyone, especially people who are close to her. Her mother comments that “the loss of the jewel seems to have turned her brain”(81) and Gabriel Betteredge declares himself “more puzzled by Miss Rachel’s extraordinary language and conduct than words can tell”(87). Clearly, Rachel’s behavior is not only immoderate, but also out of character, which suggests that there is some deeper cause to her distress. She displays revilement and anger towards Franklin Blake and a deep humiliation for still caring about him. She declares that her love is a “shameful weakness”(350) and that “any other woman would shrink from the disgrace of touching him”(350). Even though he has wronged her she shields him and refuses to tell anyone of the crime he has committed, implying that if she does she will also be shamed.

Roseanne Spearman implies in a letter to Franklin Blake that she initially thought that his presence in Rachel’s boudoir as sexual in intent (314). He goes into a woman’s private quarters (symbolic of a woman’s body) to take a jewel of great cost (symbolic of virginity). Perhaps this is a case of rape, and in light of Rachel’s distraught reaction this seems likely. On the other hand, she watches from her door and makes no attempt to stop him (343-345), which could, conceivably, insinuate that she is, in some way, consenting.

As discussed in class, the Shivering Sand is emblematic of female orgasm and the depiction of Franklin Blake’s discovery of his nightgown there also contains sexual imagery. Especially indicative is Franklin Blake’s own description of his search for the truth in the “heaving”(305) quicksand “I own I closed my eyes at the moment when the point of the stick first entered the quicksand...before the stick could have been submerged more than a few inches, I was free from the hold of my own superstitious terror, and was throbbing with excitement from head to foot.”(305) The fact that Wilkie Collins chose to highlight Franklin’s discovery of himself as the thief in such a suggestive scene seems to suggest his intent to highlight the implication that Franklin has stolen much more than a diamond.

"The Aversion of Inevitability"

The Aversion of Inevitability

When confronted with uncertainty, one often becomes dangerously prone to succumbing to a multitude of seemingly irrational actions. Shrouded in distrust of others and personal insecurities, the characters of Wilkie Collins’ The Moonstone who come in contact with the Verinder family all seem to be affected by stone’s supposed curse, raising among other impediments the major motif of addicition. Addiction not only accentuates personal deficit within the story, but brings forth the manipulability of ethics to yield actions fueled entirely by desire.

Having himself been well acquainted with laudanum, the helplessness of one faced with addiction is strikingly present throughout Wilkie Collins’ intricate narrative, its effects being most apparent in the case of Franklin Blake. As the driving force behind the compilation of all accounts of the theft of the Moonstone and a major detective support, Blake’s later conclusion that his reasoning for the removal of the Moonstone from Rachel’s bedroom was rooted in its protection is seemingly truthful. However, this act ultimately affords Ablewhite a window of opportunity in which he is able carry out the offense. As more logical security measures could have been imposed, it can be deduced that Blake’s actions are largely the result of the effects of laudanum upon him.

Blake’s removal of the Moonstone from Rachel’s bedroom proves to be a major diversion in solving the crime. Just as “…even the comforting effect of Robinson Crusoe [wears] off” (75) at times for Betteredge and leaves him in a position of solitude and confusion, the wearing off of the laudanum administered to Blake renders him helplessly unstable, for he is faced with allegations of behavior he cannot recall. The drug itself acts as a temporary refuge for those suffering from detrimental personal circumstances – insomnia, for example, in Blake’s case – but thrusts the user into an increasingly declining cycle. This cycle is best witnessed in Ezra Jennings’ account of its effects: “…the vengeance of yesterday’s opium, pursuing [him] through a series of frightful dreams[,]” resolved only by the return of the pain he is attempting to lessen with its usage, for “[i]t dispelled the visions—and it was bearable because it did that.” (392) Franklin’s actions do not diminish his character in any way once all information is known, for it can be accepted that the laudanum – taken on Candy’s account – is responsible for making Blake act upon his fears that the Moonstone is not secure in the Verinder household.

Throughout The Moonstone, a number of addictions other than laudanum take a prevalent position. Blake, abiding to Rachel’s request that he cease usage of tobacco, is lead to experience many ‘[a] miserable, restless night; and a total failure of appetite…” (392) Having long had tobacco serve as a source of satisfaction for him, the lack of other sources of contentment make his task significantly more difficult. Blake’s interest in Rachel and his fervor in pursuing the thief of the Moonstone can also be seen as addictions, for these motivate him to alter personal customs and his present lifestyle.

Numerous forms of addiction encountered throughout The Moonstone prove to have a substantial impact on the outcome of the mystery. Franklin Blake, while only partially accountable for his actions, is a seamless example of the effects addiction can have on both the addict and those around him. Upon the novel’s completion, it can be seen that there does exist a unifying bond between each case of addiction within: one must aim to find satisfaction that can be maintained with a clear state of mind and under a reasonable, sustainable lifestyle.


Works Cited
Collins, Wilkie. The Moonstone. New York: Oxford University Press, 1999.

HA!

Well All I can say is sorry for the messed up Blogging... I have been having problems all day and night..

I guess just twice as much EXCITEMENT!!
~ALISSA

A Close Examination of The Moonstone’s Detective Novel Characteristics

Alissa Tarita
English 200C

As compared to today’s interesting infatuation with crime and detective television shows, such as Crime Scene Investigation or Cold Case Files, Wilikie Collins’s novel, The Moonstone, is fascinating as he experimented with a genre that still captivates audiences through such mentioned television programs. The detective narrative is a genre consisting of particular characteristics which usually include an initial crime, assumable suspects, clues to solve the mystery, and finally, a twist that shocks and surprises the audience due to the uncovering of a crucial piece of evidence. It is through this technique that The Moonstone is able to lure in readers to become a part of the crime, becoming investigators themselves.

From the Prologue, the detective narrative focuses its search on a stolen “Yellow diamond” (Collins 1) that went missing the night of June 21st, 1848 (Collins 58). The previous identification of the gem has been described earlier in the novel “as having been set in the forehead of the four-handed Indian God who typifies the moon”(Collins 1). Although the gem was originally robbed from the Indian shrine, the detective narrative focusses on the diamond’s location after it was stolen during the night of Miss Rachel Verinder's birthday. The initial crime takes all of the characters within the household during the disappearance of the diamond and turns them all into suspects. The crime also introduces two crucial characters necessary to solve any mystery: the detectives. First, Superintendent Seegrave, a man with “a fine commanding voice” and “military in his manners”, (Collins 83) was ultimately replaced by yet another detective, Sergeant Cuff, a “renowned and capable character” who had eyes that “when they encountered your eyes, looke[ed] as if they expected something more from you than you were aware of yourself”(Collins 96). These two components of the story, the introduction of the two contrasting detectives and the identification of the suspects, lead the way to the uncovering of valuable clues.

The most exciting part of the detective novel is the opportunity for the audience to participate. Evoked by the revealing of clues, the reader or audience become involved in the detective process as they feel a responsibility to attempt to piece all of the available evidence together and to decide what information is relevant and that which is not. This involvement is intensified in The Moonstone due to Wilikie Collins’s decision to publish the novel in weekly instalments. The audience’s anticipation for the upcoming instalment creates more suspense. The technique of changing the narration from one character to the next further adds to the role of detective, as the reader is able to ‘interview’ or observe multiple perspectives, similar to real-life investigations. All of these fascinating techniques draw in and ultimately transform the regular reader into a determined participant.

The shocker: the ‘who-done-it’ aspect of the novel, the point when the reader holds his breath for a second due to one vital piece of information that brings the novel to its climax. The importance of finding a nightgown that had smeared the door during the time of the robbery would in the end provide that significant piece of evidence that would reveal the perpetrator. When the audience discovers that the name NAME”, upon the nightgown is Franklin Blake’s, “I found the mark, and read – MY OWN a sudden shift occurs (Collins 307). The unexpectedness of the event sends the detective observer into a state of disbelief, almost forcing the reader to look back at past evidence and recreate the crime in accordance to the new information. Again, this captivates the audience further as their judgment is challenged.


After being introduced to the crime, clues and, of course, a thrilling shock, the audience’s detective skills are ultimately put to the test. This opportunity to join in, to question, to look back, to wonder how, who and why, enables audiences to become apart of an exciting and mysterious adventure. It is no wonder that today’s television shows use this technique in order to hook audiences and have them anticipate weekly episodes, similar to Wilikie Collins’ readers. That is why even today the detective narrative continues to thrive, as audiences sit down and join Grissom or Matlock to solve yet another detective case.

Works Cited
Collins, Wilkie. The Moonstone. New York: Oxford University Press, 1999.

Misplaced Trust: Examination of Assumptions

Misplaced Trust: Examination of Assumptions

Jill Hughes

English 200C
Dr. Shlensky
October 30, 2006

“It’s only in books that the officers of the detective force are superior to the weaknesses of making a mistake” – Sergeant Cuff (Collins 434).


One of the main functions of a mystery novel is to engage the characters and the reader in deciphering who committed the crime (Shlensky 2006). The reader is led to make certain presumptions about the plot, especially in regards to the reliability of specific characters. In “The Moonstone” by Wilkie Collins, this theme is deliberately questioned and the reader’s deductions challenged by occurrences in the plot. Cuff’s statement during his final appearance about detectives making mistakes in real life (Collins 434) alludes to the oversights made by Cuff himself, the other characters, and the reader, resulting in the questioning of generalizations that each makes.

Throughout the first half of the novel, the narrative seems to be designed to inspire the reader’s faith in the character of Sergeant Cuff. It is repeatedly mentioned that “his eyes… [expect] something more from you than you were aware of yourself” (Collins 96), encouraging the reader to believe that this character has knowledge beyond their own. This deceptive assurance leads the reader to take Cuff’s actions and beliefs as truth. His behaviour around Betteredge, acting as if he always knows something about the theft that Betteredge does not, supports this assumption. This is shown when Cuff says that he “had better not tell” (Collins 115) Betteredge if he thinks Rosanna is connected with the Moonstone’s disappearance. It is also encouraged earlier when he informs Betteredge that if he were in Cuff’s position he would have already “formed an opinion” (Collins 111) about the disappearance. When it is shown that Cuff is wrong in his theories, it sets the entire plot off balance, and damages the constructed faith in the Sergeant.

This initial betrayal causes the reader to hesitate in trusting later characters who take on the detective role. When Rosanna, for instance, accuses Franklin Blake of being the thief because of the paint-smeared nightgown (Collins 316) or when Rachel Verinder claims that she “saw [Blake] take the diamond with [her] own eyes,” (Collin 340) the reader may still doubt their evidence. These accusations are later proved to be correct, but still not completely without fault, as Blake “took the Diamond, in a state of trance, produced by Opium” (Collins 381), and was neither the final nor the true thief. The doubt that was originally cast on the situation is reiterated with these events, leaving the reader with little indication of who the true culprit might be. Even in the end when Sergeant Cuff once more theorizes about who the thief may be, he does not reveal his theories to the reader, placing the “name [in a] sealed letter” (Collins 434) instead. The reader’s distrust of the Sergeant and the rest of the characters is not dispelled.

It is this doubt on which Collins acts, when Cuff mentions that “only in books… officers of the detective force are superior to the weakness of making a mistake” (Collins 434). It brings the reader’s attention to their own assumptions that have been made. The revelation that each character, in their beliefs and hypotheses, has the ability to be wrong despite evidence, intelligence, and knowledge, causes the reader to examine their own ability to grasp the sequence of events. Cuff, when he hands the letter to Blake, states that he “may be suspecting the wrong person now” (Collins 434). This causes the reader to second guess their final assumptions and shrouds the final scene in mystery.

In “The Moonstone” Collins creates a plot that constantly keeps the reader uncertain; he produces a strong theory from what should be a trustworthy character, Cuff, and then causes this initial character to be proven wrong. Despite Cuff’s own confidence in his ability to decipher the mystery, he ultimately fails, and thus casts doubt on the trustworthiness of many of the other characters that follow. The mistaken assumptions of not only the other characters, but the reader, are shown in a sense of mistrust and suspicion throughout the rest of the story. This may result in the reader examining the reasons for their own faulty theories and misplaced trust in the outcome of the mystery, and the assumptions that lead to those beliefs.

Works Cited

Collins, Wilkie. The Moonstone. New York: Oxford University Press, 1999.

Shlensky, Lincoln. “Victorian and Edwardian Literature.” English 200C, Lecture. University of Victoria. Victoria, 19 October 2006.

The Moonstone and the Addict

Addiction, compulsion, and obsession can be found at the very core of Wilkie Collins' book "The Moonstone." By refusing to outright condemn the idea of drug use, and by allowing the presence of opiates and other drugs to play a major role in his novel, Collins, a known opium addict himself, allows the reader an uncommon insight into the lives of the addicted and even goes so far as to make room for the possibility that drug use and other obsessive behavior can play a somewhat positive role in the world.

Collins addresses the issue of addiction and compulsive behavior, in various degrees of severity, through several characters in "The Moonstone." Franklin Blake and Gabriel Betteredge are both habitual tobacco users, and Blake's attempts to quit the stuff leave him restless and irritable. Ezra Jennings eases the pain of a mysterious fatal disease through heavy doses of opium but suffers from "a series of frightful dreams" as a result (pg. 392). Betteredge explains through his narration that John Herncastle, the original thief of the Moonstone, may have "given up to smoking opium and collecting old books..." after being shunned by his family and friends (pg. 31). When told that Franklin Blake is having trouble sleeping, Dr. Candy recommends that he take laudanum to help achieve a decent night's rest and, trying to prove a point in defense of medicine, secretly administers the drug to Franklin without his knowledge. Franklin's odd reaction to the drug later sets the stage for the disappearance of the Moonstone and the investigation that follows.

Beyond the world of drugs we find even stranger things. Miss Clack, an obnoxiously pious faux-Christian, has an apparent compulsion to force religious tracts on her friends and those within her social circle whom she feels need to be "saved." One could even make the argument that the ex-thief Rosanna Spears harbours a dangerous obsession with Franklin Blake - her passionate but unrequited love for him drives her to commit suicide.

Despite the negative qualities shown to be inherent in addiction, it is not impossible to analyse the story in such a way as to create a case for the positive as well. Ezra Jennings' dangerous reliance on opium may result in his near-comatose state of being and his terrible nightmares, but the agony of his illness is dulled by the drug and it is through its use alone that he is able to maintain a relatively active life - it is only after he refrains from using opium that he finally succumbs to death. The sleeplessness that befalls Franklin Blake when he attempts to quit smoking tobacco leads Jennings to his (ultimately correct) hypothesis that Franklin may have unknowingly taken the Moonstone while under the influence of laudanum. Further, misguided as they both may have been, even Dr. Candy and Miss Clack believe that their actions are justified on some level, despite the complications and aggravation that arise on their behalf. Finally, although the positive side in this example may be decidedly more difficult to see, Rosanna Spears' misplaced love and her subsequent tragic suicide can be seen to serve for the reader as a macabre contrast to the seemingly blissful life that Rachel Verinder is able to share with Franklin Blake at the story's end.

Throughout this novel, Wilkie Collins consistently defies norm and stereotype by shaping characters that are multi-faceted and complex. Disfigured, ugly and otherwise unheroic characters are found to be emotionally intelligent, creative and passionate, whereas handsome, upper-class and supposedly noble characters are found to be capable of deceit, greed and other loathsome qualities. When reading "The Moonstone," it is often hard to find the true blacks and whites among all the shades of grey, and the book's even-handed depiction of obsession, addiction, and consequence does nothing to detract from the remarkable underyling theme of subjectivity.

Works Cited:
Collins, Wilkie. The Moonstone.
New York: Oxford University
Press. 1999.

The Victorian Heroine

Amy Caesar

In the Victorian era, women were constrained by gender roles made by a male-dominated culture. Victorian literature reflects the ideals of Victorian society; therefore, we, the readers, are given an image of the culture’s idea of the perfect young lady in the portrayal of female protagonists in the literature of the time. In the Victorian era, young ladies were expected to act with propriety and decorum, in submission to fathers’, husbands’, and ministers’ decrees on their actions; however, while the appearance of complete submission was insisted on at all times, it is reflected in the literature that Victorian society was aware of, and seemed to admire, women’s internal rebellion. Female protagonists in Victorian literature have no outlet for heroic action: they are admirable for the manner in which they stifle their opinions, and are entrancing because their frustrations often leak out in indecorous or unacceptable ways.

In the novel The Moonstone, Rachel Verinder fits this image of the ideal Victorian young lady: instead of attempting to solve the problem of the moonstone – as a modern day heroine would – she suffers from the constraints placed on her by society. Although Rachel feels the limitations of ‘propriety’, she does act, albeit privately, in a manner unsuitable to the Victorian idea of a young lady of the nobility.

Rachel’s submission to society’s strictures is illustrated in her attitude during the investigation into the mystery of the Moonstone. Her attitude seems childish, mysterious and conflicts with the readers desire to believe she is honest: she refuses to speak of the Moonstone, even to her mother (80); she is disobliging to Superintendent Seegrave’s investigation (85); and angry at Franklin Blake for summoning the police at all (86). All is made clear when the reader learns that she observed Franklin Blake taking the Moonstone from her sitting room.

While, like any woman, Rachel is most likely longing for an opportunity to express her fury at Franklin’s actions, Victorian society banned such a tête-à-tête without a chaperon. Because she loves him, Rachel refuses to accuse him publicly of the crime she saw him commit; because she saw him take the diamond, she cannot support the investigation without revealing what she has seen. Although her behaviour seems to contradict the ideals of Victorian society, Rachel’s actions are illuminated as the reader gains more information, and her inner struggle becomes apparent.

During his investigation Franklin, hoping to gain insight into the mystery, gives Rachel the opportunity to finally express her anger and, thereby blame Franklin for stealing the Moonstone: “I have kept your infamy a secret…and I have suffered the consequences of concealing it. Have I no claim to be spared the insult of your asking me what you have done? Is all sense of gratitude dead in you?” (339). While Victorian ideals expect Miss Verinder to be offended and shocked at the thought of a private interview with a gentleman, Rachel uses the opportunity to express her emotions and beliefs.

In conclusion, although the character of Miss Rachel Verinder seems (superficially and at the beginning of the novel) to be that of a conniving, immoral and spoilt thief, when the reader is presented with the knowledge that Rachel has, knowledge of the Victorian era and of the mystery itself, her character becomes that of an exemplar of a Victorian heroine.

Works Cited

Collins, Wilkie (1999). The Moonstone Ed. John Sutherland.

New York, NY: Oxford UP

TROUBLE AT THE MOMENT

Havng PROob l ems ...... I can't seem to Transfer my blog properly, Will do what I can.!.! .expect an exciting post asap!!!!!

Unmovable Foundations – Social Immobility in The Moonstone

When Gabriel Betteredge, the most predominant narrator in Wilkie Collins’ novel The Moonstone, describes women as “the weaker half of the human family” (Collins, p. 84), he reflects a sentiment that fuels the portrayal of female characters in the book. A close examination of the roles of Rachel Verrinder and Rosanna Spearman, and a brief look at the powerful role of Lady Verrinder, show a small-scale reflection of the roles of women in the general Victorian social structure. The roles of these women represent a small section of the general metaphor established in Collins’ work, which depicts in the Verrinder household a microcosm of nineteenth century British society.


From his first mention of her, Betteredge – the voice of this society - expresses his deep respect and admiration for his lady, Julia Verrinder, who he describes as the decision maker in her marriage, where she “took [Sir John Verrinder] to church to be married” and in her household. Lady Verrinder’s powerful and respected role reflects that of Queen Victoria, who as a female ruled an empire and was respected by her citizens. However, the fact that a woman held control of the British Empire did not mean that women in general society were looked on as equal to men in strength of character or respected for their intellect, and this is reflected in the depiction of the two women most integral to The Moonstone’s narrative – Rosanna Spearman and Rachel Verrinder.

Rosanna Spearman sits on bottom rung of the social ladder in the Verrinder household – she is a servant and as is stated bluntly by Betteridge, she “had been a thief” with “a most miserable story” (p.21). Despite her past, however, Rosanna is respected by both Lady Verrinder and Betteredge and even receives special attention and sympathy from these two. However despite the sympathy felt for her, through her actions and her demise, Rosanna’s character upholds the structure of a society in which a woman of her background who “ha[s] something that [is] like a lady, about her” (p.22) – something which isolates her from her peers – cannot survive for long. Rosanna’s obsession with Franklin Blake and all the actions she takes that result from that obsession, including taking her own life at the shivering sands (p. 157), exemplify the weakness of a woman in her position. Rosanna Spearman’s tragic end speaks the reality that overrules the faith of Lady Verrinder and Gabriel Betteredge – and respectable British society – in the possibility that a former thief bred out of extreme poverty could reform to fit into the honest role of servant in a respectable household. This truth not only upholds Victorian social structure, it negates the possibility of social mobility, a statement which is reflected in the revelation of the true character of Godfrey Ablewhite (p. 444), another character who fails in his attempt to move beyond his, or more specifically his father’s social rank.

By contrast, Rachel Verrinder is a part of the upper class of British society and stays within that role throughout the book. Despite her class, however, and the respect given to her by Betteredge and the other characters that surround her, Rachel’s character does not merit the respect of her writer or her readers enough to be given a voice. Rachel’s actions lie at the centre of the narrative – her perceptions and observations are integral to the progression of the plot, however Franklin Blake (and Wilkie Collins) do not place Rachel’s story among the many narratives which make up the story as a whole. This cannot be put down to a simple matter of gender, as Miss Clack is given the space to portray not only her experience, but also her opinions of her time spent with the Verrinders (pp.191-263). The juxtaposition of respect and silence portrayed by Rachel is representative of the place of women of her stature in Victorian society – although they were respected, they had little power to assert themselves in action or in words. This lack of power is further portrayed in the revelation that despite suspicions against her, Rachel has played no part in the theft of the Moonstone, and instead stood passively and watched as the stone was taken from her possession.

In a more modern world, the reader can ask why Rachel does nothing to stop the theft of her diamond if she bears witness to its theft and also why Rachel does not tell her own story. In Collins’ time, however, Rachel would and did not do such things – she merits her respect through her silent passivity, despite her “one defect” of “ha[ving] ideas of her own”, which Betteredge affectionately points out (p. 52).

The characters of Rachel Verrinder and Rosanna Spearman, despite slight deviations in suspicion and hope by those that surround them, both uphold the strict social structure of the society in which they are depicted, and in doing so contribute to a sense of the steadfast and trusted nature of this society as portrayed by Collins in the work as a whole.


Works Cited:
Collins, Wilkie. The Moonstone.
New York: Oxford University
Press. 1999.

Opium and the Diamond: Ills of the Far East in The Moonstone

In Wilkie Collins’ detective novel The Moonstone, opium is used to advance the theme of the immoral, savage Far East. At the story’s heart, opium is directly influential in the conflict that makes up most of the story, that being the disappearance of the Moonstone. It is under the influence of the opiate laudanum that Franklin Blake commits the initial theft of the diamond from Miss Rachel Verinder’s bedroom (albeit unbeknownst to Blake). The theft is uncharacteristic of Blake. Nonetheless, the state of consciousness that opium puts Blake in is enough to cause even him to usurp the gem from his beloved Miss Rachel.
Further evidence of the negative light which Collins shines on opium can be seen in the life of Ezra Jennings, the assistant to Doctor Candy. He is physically addicted and lives a miserable, lonely existence. There is an implicit link to a sorrowful lifestyle and opium in this instance. Jennings is frequently having to use the drug to maintain his physical composure, and is seen initially as not trustworthy by Mr. Bruff, the family’s lawyer.
The role of opium in The Moonstone speaks to a broader theme, that being the ills of the Far East, which Collins sees as a place of darkness and heathenism. Collins consistently glorifies England, even though it was responsible for the international opium trade. The Indian Brahmins are portrayed as the dangerous men out to take the Moonstone from Miss Rachel, even though it was the Briton John Herncastle who originally took the gem from India. This can be seen when Gabriel Betteredge, who acts as the voice of reason (being correct in the end in his assumptions as to how the gem disappeared) expresses his opinion that the three Indians were “a set of murdering thieves” (73). Modern-day liberal sentiments would own that the rightful home of the Moonstone is India. However, none of the characters present in the house on the night of the disappearance express any sentiments in that direction. The consensus is that the diamond was stolen from its rightful owner, it being acquired as one of the fruits of imperialism.
The Moonstone, like opium, at first appears beneficial but in the end brings nothing but trouble to those who involve themselves with either object. Both the diamond and the drug originated in the Far East. Moreover, both were taken from the Far East by the British. Collins is not making an anti-imperialism comment here, as that would be contrary to the pro-English sentiments expressed by characters such as Gabriel Betteredge and Miss Clack. Rather, Collins is implying that there is an evil presence connected to that which comes out of the Far East, be it opium, the Moonstone, or the Brahmins who murder Godfrey Ablewhite at the stories end.
Sam Jaworski

Un-Englishness Unveiled

Un-Englishness Unveiled

Wilkie Collins’s The Moonstone is noted by T.S. Eliot as “the first and greatest of English detective novels” (Collins back cover). At first glance, the novel appears like a typical Victorian English novel with its explicitly detailed passages and representation of Victorian hierarchal society but, as one delves into the novel, many “un-English-like” things start popping out.

The primary storyline is about an exotic jewel involving its missing, and describes how both its presence and absence affect the situations and people in the novel. Having a Victorian novel revolve around “the loss of [an] Indian Diamond” (Collins 7), a non-English element, is the first glance of its “un-Englishness”. Another hint of the novel’s “un-Englishness” is the fact that the character of Mr. Franklin Blake, the one who organizes and puts together the account of events from the loss to the recovery of the diamond, is not entirely English himself. Mr. Betteredge describes him as having different sides that correlate with his education in “institutions in Germany”, France, and Italy, calling him a “sort of universal genius” (Collins 15).

After finishing the novel, a very non-English idea reveals itself. It is the idea of karma – what goes around comes back around. On the first page of the novel, in the Prologue, it describes “the stone as having been set in the forehead of the four-handed Indian god who typifies the Moon” (Collins 1). On the final page of this novel, the Moonstone is “in the forehead of the deity” (pg 466); back in its original place. An even more obvious example of karma involves Godfrey Ablewhite, the thief who consciously stole the diamond. He is found dead “with a white pillow over his face” (Collins 442) after being spotted by Gooseberry as being the man whom Mr. Luker passed the diamond to. On a more positive note, Rachel suffered being accused by the “renowned and capable” (Collins 95) Sergeant Cuff for stealing her own diamond in order to protect Mr. Blake. In the end, there is the “marriage of Miss Rachel and Mr. Franklin Blake” (Collins 458). Rachel, out of love for Mr. Blake, did not confess to anyone that it was him whom she saw take it and Mr. Blake says that if “times, pains, and money can do it, [he] will lay [his] hands on the thief who took the Moonstone!” (Collins 291-92). The combined efforts of these two lovebirds brought them together happily in the end.

On a final note, the novel itself is not written like a typical Victorian English novel. The majority of Victorian novels were written with a single narrator whereas The Moonstone has many different narrators (Shlensky). It is interesting to note that not all the contributors to the story are at the top of the social hierarchy. Rachel Verinder, a young heiress is never chosen as a narrator but Gabriel Betteridge, a steward, is. Parts of the story are told by the opium addicted assistant, Ezra Jennings while others by the legendary English detective, Sergeant Cuff. Wilkie Collins’s Moonstone scatters significant un-English elements throughout his novel underneath its Victorian novel façade to interest and entice the reader to explore both what is English and what is un-English.

Works Cited
Collins, Wilkie. The Moonstone. Ed. John Sutherland. New York: Oxford University Press, 1999.

Shlensky, Lincoln. "Victorian Literature – The Moonstone." English 200C Lecture, University of Victoria. 25 October 2006.

Transformers: More Than Meets the Eye

“ ‘Carbon, Betteredge! mere carbon, my good friend, after all!’ [sic] ” (62)

Wilkie Collin’s Moonstone, far from being a simple and shallow escapist detective mystery, manages to provide insight into the complicated dynamic of personal and market value. The central conflict in the Moonstone revolves around the differing worth that people attach to it, and the divisions that this creates between groups of people. The desire to control the Moonstone stems from quests for both monetary and spiritual fulfillment. The inability of these groups to be mutually satisfied leads to a significant separation between classes, as well as Eastern and Western cultures.

Godfrey Ablewhite’s dinnertime comment about the Moonstone provides structure and insight into this concept of value definition. He appears to be disregarding and belittling the many interpretations that the worth of the diamond could take on and subscribing to none. His description of the diamond’s being “mere carbon” (62) appears to display a lack of interest in it’s many levels of appeal; an account that proves to be false.

It becomes clear in the initial account of the Storming of Seringapatam that the first value that was affixed to the Moonstone was a spiritual importance ascribed by the Hindu culture and religion. The Moonstone is, in this circumstance, an irreplaceable and highly revered object that merits attention and concern on the basis of its place as the sacred focus of the four-armed Moon god’s forehead. The dedication, patience and diligence shown by the Brahmins sworn to protect the Moonstone, speak to its holy properties and cultural significance. This definition however, appears to escape Godfrey Ablewhite, in his description of this piece of “mere carbon” (62).

The manner in which the Moonstone is installed into the Verinder family, assigns considerable symbolic meaning to it inherently. Many things that are passed down through a bloodline become considered heirlooms of some level of importance, and the Moonstone is considered in this regard. The ascribed importance of Herncastle’s gift to Rachel makes it essentially priceless, as it would be impossible to ever recreate the item, or the sentiment. This level of value as decided by family ties appears again to go beyond the concept of “mere carbon” (62).

The final method by which the diamond is attributed value, is through a purely capitalist designation. The sheer size and unique qualities of the Moonstone puts its fiscal value at thousands and thousands of pounds. This alone motivates and explains the actions of many of the Moonstone’s characters, as their pursuit of and fascination with wealth override more commonly accepted behaviour. This is the one definition of worth that Godfrey Ablewhite eventually subscribes to, in blatant contradiction of his former statement suggesting that the diamond did not interest him in any way.

The Moonstone’s changing and evolving meanings and values shift in importance depending on the position that a character holds in the group. The pecuniary value of the Moonstone seems to hold more importance to the Western metropolitan characters, such as Godfrey Ablewhite. The symbolic value of the diamond, both spiritual and sentimental, seems to be of more consequence to the Eastern travelers, as well as the more traditional and rural Verinder family. This reoccurring theme of shifting values in the Moonstone and the importance it plays in the novel as a whole is well contrasted by Godfrey Ablewhite’s offhand dismissal of any sort of significance relating to the stone. Ablewhite’s later actions only add depth and irony to his previous comments, in addition to making them more incisive. This idea of changing values and morality can also be seen as a symbol for the Victorian era, and its expeditious evolutionary transformations.

Works Cited
Collins, Wilkie. The Moonstone. Ed. John Sutherland. Oxford University Press, 1999.

Mr. Candy

Dave Hudak
English 200C / F01
Dr. Lincoln Shlensky
October 30, 2006

Wilkie Collins’ novel entitled The Moonstone hosts one character of particular interest. His name is Mr. Candy. Upon his role he challenges the system in ways that today would be considered immoral, but these immoral actions only help to buttress his inconspicuous power amongst Victorian society. The purpose of this paper is to confirm that Mr. Candy abuses his power and as a result Collins is gesturing that Mr. Candy acts as a symbol for Great Britain within the Victorian era.
Due to Mr. Candy’s medical profession, a doctor, he has the ability to wield power over others. The name Collins has chosen for the doctor is symbolic and mildly humorous because society never associates candy and medicine together. Nevertheless, Mr. Candy is portrayed to handout medicine as though it were some sort of treat. The reader, late in the novel is made aware of Mr. Candy’s malpractice because Ezra Jennings acts as an informant. “Mr. Candy deceived you” (381). This statement is told to Mr. Blake informing him that Mr. Candy slipped him some laudanum without his consent. If such a non-consentual act where to be conducted amongst the present day, Mr. Candy would be seen as abusing his medical position. Yet Collins’ writing seems to imply that doctors of the Victorian era quite openly abused their practice of medicine. Ezra Jennings who is Mr. Candy’s personal assistant even commented, “Every medical man commits that act of treachery” (381). He further proceeds to say, “Every doctor in large practice finds himself, every now and then, obliged to deceive his patients, as Mr. Candy deceived you” (381). Such a bold statement makes it quite apparent that doctors within the Victorian era were wielding an inconspicuous power. Nonetheless this claim is further supported as Mr. Candy did not receive any repercussive measures.
On the other hand, Mr. Candy contradicts himself with his practice. For Mr. Candy would not look highly upon lower authorities if they were to partake in a similar devious act. Ezra Jennings sheds light upon this matter when he discusses his own upcoming experiment. He tells the reader that “it is perhaps fortunate that [Mr. Candy] is to be away just at this time. He would have been mortified if I had not informed him of the experiment which I am going to try with Mr. Blake” (394). Why would he be mortified? One can concede that Ezra Jennings does not posses full doctoral recognition, but one should also remember that Ezra Jennings experiment is the exact same experiment performed previously by Mr. Candy. One already knows the probabilities and the outcomes. As a result there should be no forthcoming danger in Ezra Jennings experiment.
Amongst the larger perspective, it could be said that Collins portrayal of Mr. Candy is somewhat symbolic to Great Britain. The two both abuse their power. For instance, the Victorian era was a period of Great Britain’s worldwide dominance. Great Britain felt it had the ability to conduct itself in any such manner it desired. Even if these actions were not socially acceptable amongst the world view. Hence, the country’s imperialistic nature. Likewise, Mr. Candy felt that he too could act in any such manner that he desired. He could justify his actions because he saw himself as a trained professional, somebody who holds special authority to act upon specific matters. With his doctoral skills he did posses the knowledge to foresee his experiment’s outcome, but he nonetheless is guilty of abusing his vested power.

A Light on the Other

A Light on the Other

“Well Mr. Franklin, his appearance is against him to begin with. And then there’s a story that Mr. Candy took him with a very doubtful character. Nobody knows who he is – and he hasn’t a friend in the place. How can you expect one to like him, after that?” (pg.320)

The Moonstone, written by Wilkie Collins explores the theme of the outsider. The concept of being outside of society is personified in Ezra Jennings, the man of “gypsy darkness” (pg. 319). The judgment above is expressed by one but held by many, and directly distinguishes this character as an outsider to society in particular because it refers to peoples subjugated by the English. The excerpt above is taken from the passage where Franklin Blake is first introduced to Ezra Jennings. This instance effectively shows the separation Ezra endures from the majority but also the rare moments of humanity he incurs from others.
The butler, Gabriel Betteredge takes on the voice of generally accepted public opinion, and one could go as far as to say the quintessential English view of strangers, when he describes the person of Ezra Jennings. Betteredge, as a character, is quite naïve and maintains that there are certain things about the workings of the world that must be accepted as fact or argued forcibly until they are. Wilkie Collins is demonstrating that an English sensibility could be said to function in the same way, operating from the surface of an issue and plowing forward regardless of circumstances. Gabriel describes Ezra Jennings with a strictly surface perspective, focusing on “his appearance”, and adding weight to the “story” concerning him by perpetuating the questionable vagueness of it. There is no desire to offer the benefit of the doubt to Ezra, he is simply different than the rest and, therefore, must be excluded and virtually ignored. Betteredge’s language and tone in regards to Ezra Jennings is less than civil, denoting a reluctant tolerance that the general population, “must put up with the man…” (pg. 320) It is also significant that being a professed Christian, Betteredge is quick to disregard and discredit the biblical reference of Ezra’s name with such strong language as, “as ugly a name as need be”. (pg.321) The biblical person, Ezra, led the remainder of the Israelites out of captivity back to the Promised Land. It could be said that Ezra Jennings led the other characters and reader alike out of confusion and onto the final stretch of evidences that would lead to the solving of the mystery. But, “Betteredge appeared to think that we had wasted enough of our time on an insignificant subject”. (pg.321)
Franklin Blake’s description of Ezra Jennings provides a slightly different perspective, one that continues to maintain its distance in the face of a foreigner, but one that acknowledges a higher sensibility to be found in the man. Blake’s description is spoken in a more respectful tone. He makes the distinction that Ezra is noticeably different with his “gypsy darkness”. (pg.319) But also that, “his nose presented the fine shape and modeling so often found among the ancient people of the east.” (pg.319) In that addition, Blake is making a point of demonstrating the agreeable qualities found in Ezra Jennings. While others look solely at his image, Blake notices Ezra’s, “eyes, stranger still, of the softest brown…took your attention captive at their will”. (pg.319) Blake makes a contrast between the sharpness of Ezra’s face to the softness of his eyes. A distinction not made by any other character because they failed to look at Ezra, choosing instead to look past him. Because Blake chose to search the eyes, he found that superiority and recess of good breeding that Ezra possessed, regardless of his outward appearance. The bond formed between the two men was mutually beneficial. On one hand, creating the partnership that helped to discover a missing link in the trail of the diamond. And on the other hand, allowing Ezra Jennings the luxury of friendship.
As an introduction to the person of Ezra Jennings this scene provides two contrasting perspectives that build upon the theme of the outsider. The first standpoint from the perspective of average Victoria English society is taken by Gabriel Betteredge. Franklin Blake, though he recognizes the “other” qualities of Ezra, moves beyond them in effect pulling Ezra into a place of inclusion in society for the briefest of moments while the remainder of the mystery is solved.

Emily Montgomery


Works Cited
Collins, Wilkie. The Moonstone. Ed. Steve Farmer. Ontario, 1999.

Addictions

The Vengeance of opium overtook me again last night.
Collins, “The Moonstone” p. 406

Addictions, to people, substances, and habits, create a strong underlying sense of dependence throughout Wilkie Collins’ Victorian novel, The Moonstone. Enslavement to habits, emotions, and substances, to the extent cessation causes trauma, directs the course of many of Collins’ characters (Dictionary.com). Franklin Blake’s addiction to Rachel, Betteridge’s need for Robinson Crusoe and its prophecies, and Ezra Jenning’s dependence on opium, all exert a control over the characters, whether it’s through their emotions, thoughts, or body.
Franklin Blake is a man driven by his love for Rachel Verinder. When his love is cruelly revoked by Rachel, he is forced to go abroad, away from the straight-laced, English Victorian society, “resolved-if change and absence could help [him]-to forget her.” (p. 289). Distance seems to help him recover from his addiction, but it really only places it in remission. As he returns to England, the thought of seeing Rachel reopens his emotions for her and inhabits his thoughts. The closer he gets to home, “the more irresistibly her influence began to recover its hold on [him].”(p. 289). She, in a sense, controls him. His decisions upon his return to England revolve around his addiction to Rachel, determining all of his actions.
Betteridge, his addiction on a slightly smaller scale, is completely dependent on direction from the novel “Robinson Crusoe” for any decision making. He believes “Robinson Crusoe” contains the answers to all of life’s challenges. It is his drug. When Ezra Jenning’s informs Betteridge that he had not read this sacred text since he was a child, Betteridge “looks at [him] with an expression of compassionate curiosity, tempered by superstitious awe” (p.403). He is shocked someone would travel through life without the guidance and knowledge “Robinson Crusoe” offers. “Robinson Crusoe” is Betteridge’s only remedy and any discontinuation of such substance would hinder dramatically his effectiveness.
Ezra Jennings, the most obvious addict, offers a dramatic glimpse into the effects of opium on the human psyche. Opium causes Ezra to have “frightful dreams” with visions of his old love, “hideously phosphorescent” and “phantoms of the dead” (p. 392). His body is utterly dependant on opium. He has a semi-comatose life: “My night, thanks to the opium, was the night of a man who is stunned. I can’t say that I woke this morning…” (p.405). He tries to give up his dose of opium, but because of excruciating physical pain, has “to return to the opium for the hundredth time” (p.396). Ezra relies on his addiction to allow him to function in day to day life.
Wilkie Collins’ characters became entirely subordinate to their addictions. The reader sees the role dependence plays in controlling the decisions of each character. In the tightly managed Victorian society, what started off as pleasure soon took on the role of a compulsion, the only constant habit of their nature, something on which to depend.

Works Cited
Collins, Wilkie. The Moonstone. New York: Oxford, 1999.

Definition: “Addiction” http://dictionary.reference.com/browse/addiction

Outside Looking In: "The Other" in Victorian Society

Outside Looking In - “The Other” in Victorian Society

Wilkie Collins' novel “The Moonstone” sheds interesting light on the Victorian mentality towards those people who did not conform to societal norms or were seen as being “outside” the normal British class structure. The attitude of the main cast of characters towards the Indian jugglers and towards Ezra Jennings reveals the fascination and yet thinly-veiled distaste Victorians had for anything that transgressed their British sensibilities and tightly regulated social order.
Ezra Jennings is an especially fascinating case since he straddles the racial boundary, neither completely English nor completely colonial: “I was born, and partly brought up, in one of our colonies. My father was an Englishman, but my mother.....” This puts Jennings in a special position of “otherness”: the Victorian mindset would have seen him as inferior for not being totally British, while colonials would not be able to completely accept him because he carried the blood of the ruling race. He is also set outside of society because of some uncertain accusation and slander that follows him about England and prevents him from keeping any one position for long. Even without knowledge of this supposed perfidy on the part of Jennings (which has not as of yet reached Yorkshire) it is interesting to note the overwhelming negative response to Jennings. He is described as having a “gipsy-complexion” and “pie-bald hair” - in short, he deviates dramatically from the standard Englishman. As a result he is shunned everywhere, not because of any deficiency in skill or character but simply because his appearance marks him as being outside of societal norms.
Within the novel, Ezra Jennings seems to function as a sort of tragic double of Franklin Blake. When Franklin Blake first encounters Jennings, he is still estranged from Rachel and trying to find a way to be reconciled with her. Jennings too has been disappointed in love, making reference to the “one beloved face I shall never see again.” Unlike Franklin and Rachel, however, Jennings and his anonymous love are never reunited, forming a tragic foil to the happy couple. They are also similar because they have both been educated outside of England and so do not have the same “British” mentality as many of the other main characters. Gabriel Betteredge in particular seems to view anything foreign as naturally inferior to the British. In contrast, both Blake and Jennings view these typical stolid English character traits with a sort of detached amusement. Jennings seems to view the English as extremely skeptical and unimaginative, remarking on the extreme resistance “against anything that is new” and makes note of Mr. Bruff's “unimaginative mind.” Franklin Blake also seems much more imaginative and prone to flights of fancy than the average Englishman portrayed in this novel, which is attributed by Betteredge to the battle of his Italian, German, and French sides – again, the parts of him that are removed from the British stoicism. Fittingly, these are the parts of his character seen as being least acceptable to British society. Possibly it is these underlying similarities in character that make Franklin Blake one of the only characters in the novel willing to take Jennings on more than face value.
Ezra Jennings provides an interesting insight into the Victorian social conscience. The description of Jennings' racial background and personal history places him definitively on the “outside” of English society, yet by juxtaposing him against a man so similar in character and outlook yet so much more fortunate in birth and upbringing, Wilkie Collins demonstrates that something which seems foreign may not really be that different from something near at hand. The Victorian abhorrence of anything contravening the rigid social structure blinds them to the true nature of that beneath.

Works Cited
Collins, Wilkie (1999). The Moonstone Ed. John Sutherland.
New York, NY: Oxford UP

SparkNotes: The Moonstone: Second Period, Extracts from the Journal of Ezra Jennings