The Woman in Black

Despite the unnerving events at Mrs. Drablow’s estate, Kipps’s decision to continue his job emphasizes both his determination at furthering his career and a need to further understand what happened to the woman in black, invoking The Clash Between Rationality and Superstition. The experience at Eel Marsh House has left Kipps feeling as though he “had journeyed so far, in spirit if not in time” (83). Hill uses the word “spirit” to categorize Kipps’s encounter with the woman in black to be of a spiritual, or supernatural, nature. It also implies that the haunting of the woman in black causes Kipps—and presumably others who have encountered her—to battle their internal conflicts or any pain that they may have. Although he has not spent much time in Crythin Gifford, this haunting affects Kipps’s internal self, and the villagers’ unwillingness to discuss Mrs. Drablow indicates a deep-rooted fear that Kipps chooses to ignore. By choosing to not “be put out by a ghost,” Kipps dismisses the collective fear of the town as well as his own (90).

Kipps’s determination to not be affected by the woman in black emphasizes the importance of pride for him. The decision to dismiss Mr. Daily’s advice to stay away from the estate further separates Kipps from the rest of Crythin Gifford, furthering the theme of The Clash Between Rationality and Superstition. He claims the woman in black “cannot do more than make [him] feel afraid” in an attempt to console both himself and Mr. Daily (99).

At this point in the novel, Kipps and the reader do not know about how the death of a child coincides with the sighting of a woman in black, so he believes the existence of the woman in black only emotionally affects the individual seeing her. However, his conversation with Mr. Daily, which brings up the crashing sounds of a horse-drawn cart, implies there is still much to be uncovered, furthering the theme of The Consequences of Holding Onto Pain and the Past. Hill crafts this conversation to perpetuate the gothic tones of secrecy and mystery, hinting at an unknown tragedy.

Spider’s presence allows Kipps to feel more secure and at ease during his stay at Eel Marsh House. He provides a false sense of security, but he also acts as company and helps Kipps feel less isolated on the island. By creating a more comfortable environment, Kipps establishes his presence in Eel Marsh House to coexist with the woman in black, creating a sense of control over his situation. Just as Kipps feels optimistic about his work at the estate, the ghostly activity at night and the sounds of the rocking chair remind him of his own childhood:

A sound that seemed to belong to my past, to waken old, half-forgotten memories and associations deep within me, a sound that, in any other place, would not have made me afraid but, would, I thought, have been curiously comforting, friendly (110).

Here, Hill engages in the uncanny by making a seemingly cathartic, comforting sound of a rocking chair eerie and unnerving. Her ability to render a sound from one’s childhood into a horrifying experience builds suspense for Kipps and creates narrative tension. Rather than being comforted, Kipps experiences fear and dread, contradicting his earlier belief that he could control the fear caused by the woman in black. The overall setting of the abandoned, isolated estate generates an air of mystery, and the inexplicable sounds of movement warp Kipps’s perception of the past and present. Hill utilizes this moment to craft traditional, gothic scenes while also exploring the theme of The Impact of Loss and Mourning, foreshadowing the tragedy of child loss that will eventually be uncovered.