The Portrayal of Mental Health Issues in Shirley Jackson’s The Haunting of Hill House
As a psychological horror story, Shirley Jackson’s The Haunting of Hill House deals with issues of mental health, but it often portrays such mental health issues in an insensitive way. Characters who display symptoms of various mental illnesses are often described with words such as “haunted” and “sick,” which are used throughout the text as a problematic euphemism for “mentally ill.” Also, the novel portrays a culture that stigmatizes mental health. Despite the problematic language, the novel ultimately shows how such a portrayal of mental health is problematic. Although problematic language is used throughout the text to describe mental illness and the irrational behavior of Eleanor and the anthropomorphized Hill House, the novel as a whole ultimately criticizes a culture that ostracizes those with mental illness by showing how such a culture causes Dr. Montague, a well-meaning person, to inflict irreparable harm on Eleanor, who is mentally unstable. The language used throughout the novel by both the narrator and the characters to describe mental illness is problematic because it suggests that “insanity” and mental illness are one and the same. The word “insanity” is inappropriate to describe mental illness because it has negative connotations and it simplifies a complex issue. The novel describes the house as“not sane” (1). This characterization equates mental instability and irrational behavior with madness, which becomes problematic when characters behaving irrationally and showing mental instability are also described as mad. For example, Dr. Montague describes the companion, who suffered from mental health issues that eventually drove her to kill herself, as “maddened by the conviction that locks and bolts could not keep out the enemy who stole into her house at night” (58). The word “maddened” is problematic in the same way as “insanity.” It takes a serious mental health issue that should be addressed, and it describes the issue in a way that alienates the companion. Her irrational behavior is contrasted with mentally-sound people in a way that stigmatizes mental health. Throughout the text, the mental states of Eleanor and Hill House are described using various vague terms for physical sickness in a way that is insensitive and discourages proper treatment. When Eleanor first sees the house, there is a “sick voice inside her which whispers, Get away from here, get away” (25). The fact that Eleanor is hearing voices in her head suggests that she is not of sound mind. Also, she is not merely hearing a voice in her head, but that voice is described as “sick,” which is a vague word for illness in general. This highlights the lack of understanding of mental illness exhibited throughout the novel by both the narrator and the characters. Mental illness in this way becomes synonymous with sickness, which quickly takes on a very negative connotation. Vague words to describe illness are also applied to Hill House. When Eleanor first sees Hill House, she thinks to herself that it “is vile, it is diseased; get away from here at once” (23). Eleanor is not the only one to describe the house as sick. When Luke asks Dr. Montague for words to describe Hill House, the doctor supplies “disturbed, perhaps. Leprous. Sick. Any of the popular euphemisms for insanity” (51). Both of these instances show that the characters are unable to properly diagnose mental illness, which is concerning because it has grave consequences for Eleanor at the end of the novel. She is not properly diagnosed nor treated, and she commits suicide. The characters’ knowledge of mental health issues, and therefore their ability to help her, is limited because they live in a world that does not have precise language to identify the problem. The novel portrays a culture that alienates people with mental illness. Society, when faced with irrational behavior, ostracizes the thing that exhibits that behavior. The townspeople act this way toward Hill House itself, which is constructed irrationally and exhibits irrational behavior through its strange phenomena. In the town, Hill House is “commonly known as ‘haunted,’” and Mrs. Dudley tells Eleanor that “no one else will come any nearer than the town” (1, 27). The word “haunted” is used to sum up all the aspects of Hill House that seem irrational to the townspeople. This irrationality scares them, so they avoid Hill House. Eleanor’s characterization is similar in this way to Hill House’s. Hill House has spent a long period of time in isolation, having “stood by itself … for eighty years” (1,182). Eleanor has also “spent so long alone, with no one to love” (3). This culture isolates certain characters who show symptoms of instability. The text criticizes such a culture by showing the harmful effects of ostracization on people with mental health issues, specifically the role that it plays in Eleanor’s death. Dr. Montague genuinely wants to help Eleanor, but he misunderstands her mental illness because he lives in a culture that uses improper language to describe mental health issues and encourages the ostracization of mentally ill people. He cares about Eleanor, and when he tells her that she must leave Hill House, “his eyes were considerate and friendly” (175). However, he thinks sending her away is the best thing for her. He says that they “cannot prolong the association,” and he thinks that isolating Eleanor will cause her to “be herself again” (177). Dr. Montague does not properly treat Eleanor because he has been influenced by a culture that does not know how to properly treat mental illness. He is not able to identify the cause of her mental instability. The novel criticizes such a culture through its tragic ending. A possible counterargument to this reading is that the novel is in fact stigmatizing mental health issues through its language, and the death of Eleanor serves not as a criticism of such stigmatization but rather as an effective horrifying ending to a horror story which insensitively uses mental illness to evoke fear. Certainly, the characterization of Hill House evokes fear, and when Eleanor first sees it, “beyond everything else she [is] afraid” (24). Jackson’s novel could be understood as objectifying mental illness, simplifying an abstract and complex issue by representing it with unexplainable supernatural phenomena. [Gothic research element]. Ultimately, the novel does not accept that mental health issues are unexplainable. Right before Eleanor dies, she asks, “Why am I doing this?” (182). The novel suggests that it is valuable to seek the reason for her actions, the “why,” so that such tragedy can be prevented in the future. Although it does not provide a concrete reason for her actions, her death is portrayed as a tragedy that would have been avoidable with more knowledge of mental health issues. Although mental illness throughout the novel is portrayed problematically, the novel recognizes the dangers of misunderstanding and mislabeling mental health issues. However, in the same way that the novel shows that the character of Dr. Montague is limited by the culture of his time, the novel itself is limited by its time. The novel highlights the gaps in knowledge of the medical community, by showing a doctor who does not have sufficient knowledge to help a person suffering from mental illness. At the same time, it itself exhibits a lack of understanding of the issues through its problematic language. Also, it seeks to criticize the sort of culture that stigmatizes mental health in a way that discourages a deeper understanding of mental health issues, while itself stigmatizing mental health issues through its language. However, much less was understood about mental health at the time it was written, so judging the novel by today’s standards perhaps is too harsh a criticism. The novel ultimately has the right idea that society should seek to better understand mental health issues and develop language to accurately and compassionately describe mental illness.
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The novel shows the dangers of unhealthy coping mechanisms. Eleanor's experience in the novel shows the dangers of repressing memories. Also, characters throughout the story use humor and laughter as a coping mechanism, but Eleanor takes it too far. Finally, her fear of ostracization and rejection causes her to form an unhealthy relationship with the house, which is a metaphor for unhealthy human relationships. Hill House is personified throughout the novel, but only with negative human traits. Hill House has emotions, which manifest physically in the way the doors shut of their own accord, the cold spots and knocking sounds, and the writing that appears on the walls. Eleanor is especially vulnerable because she is desperate for meaningful human connections, and she is afraid of being excluded. Eleanor continues to repeat the phrase “journeys end in lovers meeting.” She craves human connection, and she begins to find it with Theo and Luke, but those relationships eventually deteriorate. Because she craves this connection but cannot find it in the people around her, she is more vulnerable to the way the house catches at her and makes her feel like she belongs. The phenomena the characters experience affect Eleanor more than the other characters because the House seems to be targeting her specifically, with her past making her particularly sensitive. The cold encourages her to make physical contact with Theo and encourages her to seek comfort and build a relationship, but the writing on the wall drives a wedge between them, because it singles Eleanor out. The terrifying knocking sounds are reminiscent of her own past, and the sounds the stones made, "pattering maddeningly on her roof" (4). The Doctor says that “the menace of the supernatural is that it attacks where modern minds are weakest, where we have abandoned our protective armour of superstition and have no substitute defence” (102). The house attacks Eleanor where she is weakest. The doors shutting symbolize the way the house is catching at its inhabitants psychologically, especially Eleanor, blocking their escape. In the end, it is not the physical barriers that prevent Eleanor from leaving the property, but the effect the house has had on her mind. The hostility that the house shows towards Eleanor foreshadows her eventual death. However, she is too wrapped up in her imagination to see the reality of the effect the house is having on her. She falls under the "spell" of Hill House more than any of the other characters (102). Throughout the novel, humor and imagination function as a coping mechanism for all the characters, but as soon as Eleanor's imagination eclipses reality, it becomes an unhealthy and dangerous coping mechanism and results in her suicide.
Motive: Why is Eleanor more affected by Hill House than the other characters? How does humor function as a coping mechanism for all the characters? How do Eleanor's coping mechanisms lead to her suicide? What is her relationship with Hill House? Current Thesis: Throughout the novel, humor and imagination function as a coping mechanism for all the characters, but as soon as Eleanor's imagination eclipses reality, it becomes an unhealthy and dangerous coping mechanism and results in her suicide. Future research element: repressed memories, unhealthy coping mechanism. Personification of Hill House Quotes
Hill House catching at Eleanor quotes
I still need to find some good 'humor as a coping mechanism' quotes. Have you ever felt guilty about telling a lie, but the longer you wait to come clean the worse you think the consequences will be, so you decide to keep the secret forever? Have you ever wished someone would explain what the right course of action is in this scenario? Well, look no further than Hawthorne’s short story “Roger Malvin’s Burial” and his novel The Scarlet Letter. In these two texts, Hawthorne explores themes of dishonesty and guilt, arriving at the moral lesson that one should not hide their worst faults. Hawthorne teaches this lesson through his portrayal of Reuben in “Roger Malvin’s Burial” and Reverend Dimmesdale in The Scarlet Letter. At the end of the novel, Hawthorne switches into a first person narrative voice to express one of the “many morals which press upon us from the poor minister’s miserable experience,” which is to “be true,” and to “show freely to the world, if not your worst, yet some trait whereby the worst may be inferred!” (177). Hawthorne shows the value of honesty by demonstrating the effects and disastrous consequences of dishonesty, allowing deceitful characters to only find relief in telling the truth.
In “Roger Malvin’s Burial,” Hawthorne demonstrates the moral importance of honesty by showing how Reuben is destroyed by guilt, which is caused by his dishonesty. Reuben eventually finds some relief at the end of the story when he is unburdened of his guilt, but he must still face the disastrous consequences of his secrecy. Reuben’s choice to leave Roger is justified at first, but “concealment had imparted to a justifiable act much of the secret effect of guilt” (68). Reuben’s act is “justifiable” because staying would not have saved Roger, it would have only killed them both. Nevertheless, Reuben’s “concealment” is unethical, so he is to blame for its effect, which manifests as “a continual impulse [...] commanding him to go forth and redeem his vow” (Hawthorne 68). Guilt has an influence over Reuben and his actions, which only strengthens throughout the story, until it appears to control his actions. Leading up to his son’s death, “attributable to no care of his own,” Reuben’s “steps were imperceptibly led” by some “strange influence” (Hawthorne 72). Guilt caused by his ongoing dishonesty gradually takes away Reuben’s agency until it is completely gone at the end of the story when he kills his son, shown by the passive verb “led”. Reuben only feels relief at the end of the story, but it is overshadowed by the sorrow of his son’s death. The short story shows Hawthorne’s view of the relationship between dishonesty and guilt more clearly than the novel, so it helps in understanding Dimmesdale’s transformation as the novel progresses. The moral lesson of the importance of honesty is a central theme in The Scarlet Letter as well, shown in the contrast between Reverend Dimmesdale, who keeps his role in the affair secret, and Hester Prynne, whose crime is visible for all to see. Before it is revealed that Dimmesdale is the father of Hester’s child, while exhorting Hester to reveal the father of Hester’s child, he advises her, “believe me, Hester, though he were to step down from that high place, and stand there beside thee, on thy pedestal of shame, yet better were it so, than to hide a guilty heart through life" (47). Dimmesdale is being hypocritical because he also has the power to reveal the truth, and yet he chooses to continue “to hide a guilty heart through life.” Dimmesdale claims that Hester is happier than he because she “wear[s] the scarlet letter openly upon [her] bosom,” whereas his “burns in secret” (131). Although Hester does not reveal the identity of her lover, she does eventually also come to share this point of view. When Chillingworth threatens Hester and says that his “finger, pointed at this man, would have hurled him from his pulpit into a dungeon,” Hester replies that “it has been better so [...] better he had died at once!” (117). With the knowledge that Hester loves Dimmesdale, which is revealed later in the novel, Hester’s pronouncement that Dimmesdale would be better off dead can only be interpreted as her thinking that this would be better for his sake. Both Hester and Dimmesdale express the point of view that honesty is preferable, even with the public shame it would bring. However, that threat of public shame prevents Dimmesdale from taking his own advice, just as Reuben kept the secret to protect his own reputation. Although characters do find relief in telling the truth, Hawthorne reminds the reader that coming clean cannot erase the initial crime. By writing stories in which that good feeling is marred by the presence of death, he shows that the eventual honesty does not erase the initial deceit. At the end of the book, Dimmesdale finally tells the truth. He does what his “own heavy sin and miserable agony” prevented him “from doing seven years ago” (173). After, “there was a sweet and gentle smile over his face, as of a spirit sinking into deep repose; nay, now that the burden was removed” (175). However, he dies after experiencing this relief, which would not have happened if he had been honest from the start. Thus, Hawthorne shows the value of honesty at any time, but especially without any prior concealment. Hawthorne does not take an entire short story and novel to explain a plain moral concept. His stories are nuanced, presenting scenarios to characters in which the best course of action is not obvious. It could be argued that Dimmesdale’s silence was ethical, because it allowed him to continue to use his skills and benefit the community. He says that sinners “shrink from displaying themselves black and filthy in the view of men; because, thenceforward, no good can be achieved by them; no evil of the past be redeemed by better service” (91). Throughout the novel he is trying to redeem himself through his preaching and sermons, which actually do motivate people to lead more moral lives. He would not have been able to give those speeches if he had come forward with the truth. However, once he does tell the truth, he dies, and takes with him his power to guide the townspeople away from sinfulness. Through both his short story and The Scarlet Letter, Hawthorne explores themes of dishonesty and guilt. In the end of the novel, he even goes so far as to spell out the moral lesson of the story. However, there are still subtle elements to his argument that warrant a close analysis of the text. Reuben and Dimmesdale’s dishonesty is not justifiable, whereas Hester’s situation is shameful but she is also portrayed as brave and strong, making her a more sympathetic character. The nuances of both stories cannot be summed up into a single simple moral lesson. Hawthorne challenges the reader to evaluate their own moral code as they read. He teaches a concept that might seem intuitive and obvious without considering the gray areas between right and wrong, and real world scenarios in which a moral person might stray from the true path. My paragraph on "Roger Malvin's Burial" is about dishonesty, shame, and guilt, themes which show up often in The Scarlet Letter. Hester Prynne's crime is a matter of "human guilt, passion, and anguish" (Hawthorne 45). Guilt is certainly a feeling that Reuben experiences in “Roger Malvin’s Burial.” In the short story, Reuben is dishonest about his crime, which leads to guilt that ruins his life. In The Scarlet Letter, the clergymen exhort Hester to come clean and say who fathered her child. They say that coming clean is the best thing for her and him. "Be not silent," Reverend Dimmesdale says to Hester, "from any mistaken pity and tenderness for him; for, believe me, Hester, though he were to step down from that high place, and stand there beside thee, on thy pedestal of shame, yet better were it so, than to hide a guilty heart through life" (47). Here, Reverend Dimmesdale is warning Hester not to make the same mistake of concealment that Reuben made when he didn’t come clean about abandoning Roger. Later, we learn that Dimmesdale was being a hypocrite in saying this, as he is “hid[ing] a guilty heart through life," as is Reuben. However, from the reader’s perspective, Reuben’s dishonesty seems horrible, whereas Hester’s silence is portrayed as both shameful but also brave and strong. When it becomes clear that Hester will not speak after Reverend Dimmesdale’s speech, he says, “wondrous strength and generosity of a woman’s heart!” (48). Also, he portrays her endurance of her ordeal as strength, writing that “her temperament was not one that escapes from too intense suffering with a swoon” (48). There are some interesting similarities between Reuben and Hester's situations, especially in the themes of guilt, shame and dishonesty, but also some important differences in the context and whether their actions are justifiable. I would argue that Reuben and Dimmesdale are not sympathetic characters, while Hester is.
I have more quotes to include in my paper now that we're done reading the book, but I didn't want to make my blog post too long. (on pages 54, 66, 90/91, 103, 105, 117) In Hawthorne’s “Roger Malvin’s Burial'', Reuben is to blame for the death of his son, which is not an accident, but rather a repercussion of his earlier dishonesty. The language at the end of the story, through the passive verbs and supernatural undertones, makes the incident seem inevitable and Reuben’s actions uncontrollable; however, this does not exonerate him. His lack of agency at the end is the result of guilt borne from his own dishonesty, and is therefore his fault. Reuben’s choice to leave Roger was justified at first, but “concealment had imparted to a justifiable act much of the secret effect of guilt” (68). It is not the initial act, but rather the dishonesty after the fact, that causes the most guilt in Reuben. The “secret effect of guilt” manifests as “a continual impulse [...] commanding him to go forth and redeem his vow” (68). Guilt has an influence over Reuben and his actions, which only strengthens throughout the story. Leading up to his son’s death, “attributable to no care of his own,” Reuben’s “steps were imperceptibly led” by some “strange influence” (72). Guilt gradually takes away Reuben’s agency until it is completely gone at the end of the story, shown by the passive verb “led”. Hawthorne uses supernatural elements to exaggerate the effect of guilt and to create a dramatic ending, which drives home the moral lesson of the importance of honesty.
Volume II in Great Expectations follows Pip as he adjusts to life as a gentleman, falls further in love with Estella, and in the end finds out that his mysterious benefactor is not, in fact, Miss Havisham, but rather the convict he helped years and years ago. Throughout the course of this volume, Pip stumbles into all sorts of debts. In the very first chapter of the volume, Pip is shown around a jail, and sees “the Debtors’ Door.” (Dickens 166). The criminals walk out of this door before being hanged. Hearing about this, Pip thinks it is “horrible, and gave me a sickening idea of London.” (Dickens 166). Although the place was no doubt dismal, it bothers Pip especially because of his criminal past. Pip wants so much to completely leave his past behind, but it comes back to haunt him. Pip has committed a crime in the past, and at the rate he is spending money, it is not far-fetched to wonder if he will commit money-related crimes in the future. There is an interesting similarity between Pip and Herbert’s description of Havisham’s brother, who could not manage his affairs and eventually plotted with Compeyson to steal from Miss Havisham. When telling Pip the story of how Miss Havisham was betrayed, Herbert says: “Her half-brother had now ample means again, but what with debts and what with new madness wasted them most fearfully again.” (Dickens 180). This seems similar to how Pip spends his allowance very quickly after getting it, even spending more than he has and going into debt. In chapter 34, Pip “began to contract a quantity of debt.” (Dickens 273). In the same chapter, Pip is “threatened (by letter) with legal proceedings, ‘not unwholly connected… with jewelry.’” (Dickens 275). These lines show that Pip’s debt is becoming a serious problem, almost criminal. The volume ends with a huge reveal: that Pip’s benefactor is the convict Provis, which continues the theme of Pip’s debt on to the third volume. Now Pip has to struggle with the idea of being indebted to someone of a lower class than him. Also, Pip wanted so desperately to leave his childhood completely behind, but now the convict is a fetter chaining him to his past and past crimes. I am excited to see where the novel takes us from here, and how Pip deals with these new obstacles.
Great Expectations hints that it is better to have a balance between work and home life, by showing Pip having a much more pleasant time at Wemmick’s house than Jaggers’. The food is excellent at both, but the atmosphere is more enjoyable at Wemmick’s. Wemmick tells Pip that “the office is one thing, and private life is another.” (Dickens 208). He wants to keep his work life and his private life as separate as possible, so he asks Pip to not speak about the office while in his house. After dinner, Pip is “heartily pleased with his whole entertainment.” (Dickens 209). The text shows that these boundaries between work and home are good, by showing how much fun Pip has at Wemmick’s house. However, Pip does not have such a wholesome experience at Jaggers’ house. Jaggers cannot help but bring his work personality home with him, symbolized by his surroundings in his house: garlands on the walls that look like nooses; books about evidence, criminal law, and other similar topics; a desk with papers to work from home; even his housekeeper. (Dickens 211-212). Pip finds the atmosohere “bare, gloomy”. (Dickens 211). Although dinner starts well, Jaggers instigates a fight between Pip. Drummle, and Herbert. “He wrenched the weakest part of our [the three boys’] dispositions out of us.” (Dickens 213). Jaggers acts similarly to how he would in a law court, tearing down an opponent’s defense. Because of his actions, dinner ends in a “disagreeable” manner. (Dickens 216). Pip wants to become a gentleman in the hopes that he will enjoy life more. Because Pip did not enjoy life at the forge, when he lived where he worked, he admires Wemmick’s ability to separate the two. It will not be surprising if Pip tries to find balance between work and home in his own life as well.
My class has just finished the first volume of Great Expectations, which focuses on Pip's transformation from being content as a member of the lower class, to longing to be a gentleman, to coming into great expectations. Although many things prompt this incredible change, Miss Havisham is at the root of it all. She is the one who first exposes Pip to upper-class life, and then provides the means for him to move to London and become a gentleman (although Pip's benefactor remains anonymous, all clues lead to her).
As I'm sure we can all attest, our personal flaws bother us a hundred times more when someone else points them out to us, especially someone that we admire. So when Estella, the beautiful but cruel young lady at Miss Havisham's, insults Pip for being course and common, he cannot stop thinking about it. He sees himself in a new way. He sees Joe, and Biddy, and Wopsle and Pumblechook in a new way. And he sees his life at the forge in a new way. After learning of his new expectations, Pip pours condescension on everyone and everything around him on the marshes. If this is how he behaves when only expecting money, I don't want to see his personality after he actually gets the money. Perhaps, if he had never gone to visit Miss Havisham, he would have been content to take over the trade from Joe and marry Biddy, leading a simple but common life. Biddy asks Pip if he wants to become a gentleman to spite Estella or to win her, and Pip doesn't quite know. I can't help but fear for Pip that Estella will end up breaking his heart. Miss Havisham takes a savage delight in toying with him, and she probably wants to take revenge on the world for what happened to her. As we learn in chapter 22, Miss Havisham was betrayed by her fiance, who was only interested in increasing his own wealth. Unfortunately for Pip, he envisages such a great life as a gentleman that reality can't help but fall short. His suit from the tailor's doesn't fit as well as he had hoped, and London is a dirty and dismal place. As we continue to read, we will see how easily Pip adapts to his new circumstances. Welcome to my first blog post. Online learning is a much different world than our normal classes, with its own pros and cons. I have enjoyed the extra sleep afforded by my now non-existent commute, but I miss eating lunch with my friends. Also, spending most of the day looking at a computer screen gets tiring, and we've only been using Zoom for one day now. Class discussions feel much more like a lecture, too. The teachers have been talking more than usual, and fewer students are volunteering to talk. However, because yesterday was only the first day using Zoom, I expect that to change. I'm glad that many teachers are not using Zoom for every class. Sitting all day at home gets very monotonous, so having some change in the school day is welcome.
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