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.
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.
posted by Anonymous at 10:21 AM
1 Comments:
Whitney-
I found the topic you chose for your close reading to be very interesting. Rosanna's attraction to the sinking sands certainly has blatantly sexual undertones, which to me was a peculiar addition to such an otherwise celibate novel. In your close reading, you comment that the sands "externalize Rosanna's sexual frustration", and also that she can relate to it more than she can relate to any of the characters in the Verinder household. Do you think that Collins is making a social commentary on the way that people who are stuck in certain social positions are stuck in quicksand, in a way? Your reading does a good job of analyzing Rosanna and her reasons for ending her life in the shivering sands. The comparison you used between her incapability of getting rid of her past and the stain on Betteredge's coat was completely accurate, and important in showing Rosanna's frustration. One minor thing about the writing style of the reading I would suggest changing would be to begin a new paragraph when you begin to discuss the sexual representation of the shivering sands- it would help to make the different points more effective. All in all, good job on your reading! Definitely a great topic choice, like I said. I'll see you in class on Thursday!
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