Analysis of Oscar Wilde’s The Canterville Ghost

BY NASRULLAH MAMBROL ON JUNE 18, 2022

First published in the Court and Society Review, “The Canterville Ghost,”

subtitled “a Hylo-Idealistic Romance,” concerns an American minister, Mr.
Hiram B. Otis, who buys a haunted English mansion from Lord Canterville.
When warned about the ghost by Canterville, Mr. Otis replies only that
since Americans live in a modern country and have everything that money
can buy, if there is a ghost they would just as soon have it in a museum.
Canterville tells Otis that the ghost has been around since 1584 and makes
an appearance before any family death. Otis refuses to believe that there is
any ghost, and the purchase is completed.

The Otis family consists of Hiram; his wife, the New York belle Lucretia R.
Tappan; their eldest son, Washington; their 15-year-old daughter, Virginia;
and their twins, nicknamed the “Stars and Stripes.” Upon entering their new
home, Mrs. Otis notices a bloodstain which the housekeeper identifies as
the blood of Lady Eleanore de Canterville, murdered by her husband Sir
Simon in 1575. It is Sir Simon’s ghost that haunts Canterville. He survived
his wife for nine years before disappearing under strange circumstances,
and his body was never discovered. Washington promptly removes the stain
with Pinkerton’s Champion Stain Remover and Paragon Detergent. The
next morning, the bloodstain has returned, as it does each morning after
Washington removes it. One night, Mr. Otis is awakened by the clanging of
metal and the appearance of the Canterville ghost. With red eyes, long gray
matted hair, ragged clothes, and chains hanging from his wrists and ankles,
the ghost is furious when Otis calmly requests that he use Tammany Rising
Sun Lubricator to silence the noise of the chains. When the ghost flees,
groaning in an attempt to terrify the family, the twins throw pillows at him.
In 300 years, the Canterville ghost has not been so insulted. He mentally
runs through his list of brilliant performances, all of which resulted in the
death or madness of those he frightened, and vows revenge.

The humiliation of the ghost continues, and he finally resorts to stealing

Virginia’s paints to restore the bloodstain that Washington removes daily.
His groans cause Mrs. Otis to recommend Dr. Dobell’s tincture for
indigestion to the ghost, and the twins set up a mock ghost that terrifies
him. The ghost resolves to himself that these are gross materialists
incapable of appreciating him, and he determines to do only his minimal
duty as a ghost. He even tries the Rising Sun Lubricator and finds that it
does indeed oil his chains well. After a butter slide set up by the twins trips
him, he vows to try his most terrible disguise, Reckless Rupert, or the
Headless Earl. But the twins douse him with water and laugh at him. The
Canterville ghost gives up his nocturnal wanderings, and the family
generally assumes that the ghost is gone.

One day, Virginia notices the ghost sitting alone in the tapestry chamber.
He admits to killing his wife and then says that her brothers starved him in
retaliation. The ghost tells Virginia that he cannot sleep and that he wishes
to die, but that he cannot until the prophecy written on the library window
is fulfilled. The prophecy requires a golden girl to pray and weep for the
soul of the ghost. She agrees, and they disappear together. At midnight,
Virginia reappears to her frantic family with a beautiful box of jewels and
with the news that the ghost is dead. She takes her family into a chamber
where a gaunt skeleton stretches out his hand for an out-of-reach water jug.
The family holds a funeral for the ghost, and not long after, Virginia
marries her sweetheart, a duke. The story closes when the duke asks her
what happened when she was locked up with the ghost. Virginia refuses to
answer, and only blushes when the Duke asks if she will tell their children.

In “The Canterville Ghost,” Oscar Wilde draws on fairy tales, the popular
gothic conventions of the 19th century, and the portrait of the American
abroad to shape his comic ghost story. Possible sources for the ghost of Sir
Simon include Alfred Tennyson’s poem “Maud” as well as Samuel Taylor
Coleridge’s “Christabel.” Wilde also emphasizes Sir Simon’s performance
of a role, the importance of masks and appearance, and the discrepancy
between the public and private self, all of which are repeated themes in
Wilde’s work. The clearly allegorical names of the children—Washington,
Virginia, and the Stars and Stripes—suggests that they come from a country
in which everything can be bought and commodified, in which the
bloodstains from the past are easily removed with the newest brand of
detergent. Henry Labouchere, who endorsed Wilde’s lecture tour in
America in 1882, hoped that Wilde’s hyperaestheticism might offer a
corrective for America’s hypermaterialism, and it is this hypermaterialism
that characterizes the Americans of Wilde’s story. That England’s ghosts
and skeletons simply fail to haunt the American Otis family is a central
point in “The Canterville Ghost.” The ghost cannot haunt the American
family, and it is only in the young girl Virginia that Wilde hints at a more
vexed relationship to the past. She eventually marries a duke, making her
father uneasy that she is united with a titled figure of the past. She is the
character most aligned with the ghost, and she disappears with him for
hours for which she will not account. At her husband’s urging to tell what
occurred between her and the ghost, or at least to tell their children one day,
Virginia only blushes, though it remains unclear whether she blushes at the
allusion to sexuality within the marriage, at the mystery of her time with the
ghost, or at some combination of the two.
The Canterville Ghost
by Oscar Wilde

The Canterville Ghost Study Guide

The Canterville Ghost was first published in 1887 in The Court and Society
Review.  The first part was published on February 23, with the second installment
following on March 2. It was accompanied by illustrations. By 1887, Wilde had achieved a
significant reputation as a poet, playwright, lecturer, and flamboyant public figure.
Beginning around 1885, he had also become involved in the world of periodicals and
magazines, initially by writing reviews and articles. This transition to a more stable form of
income was important because Wilde now had a wife and two young children to support.
The Canterville Ghost  was the Wilde's first piece of short prose fiction to be
published, but it was quickly followed by other tales and stories. By 1888, he had published
his first short story collection, The Happy Prince and Other Tales. The
Canterville Ghost  was not included in this collection, but it did appear in Wilde's 1891
collection, Lord Arthur Savile's Crime and Other Stories.  Wilde wrote the story
after spending months touring America as a lecturer and honing his observations on
American culture.
Wilde’s story is not just one of his most anthologized works, but also one of his most
adaptable. Sir Simon—the titular ghost—has been portrayed on screen by, among others,
Charles Laughton, John Gielgud, and Patrick Stewart. Wilde’s story has been adapted into
at least three different operas in three different languages in addition to a stage musical, a
graphic novel, a Bollywood film, and any number of very loose adaptations. The comedy,
short length, and accessible writing style have also made it popular with young readers as
an introduction to the short-story genre.

Wilde was not the first writer to toy with the idea of a comedic ghost; previous examples
include the ghost that haunts Ebenezer Scrooge in Charles Dickens's A Christmas
Carol and Ichabod Crane’s nemesis in Sleepy Hollow. And even the Ghost of
Christmas Past and the Headless Horseman were capable of inspiring shrieks as much as
guffaws--none came anywhere close to inspiring more squeals of laughter than squeals of
alarm in readers. So, in a very real sense, The Canterville Ghost serves as an ancestor
for all horror-comedy to follow, from Abbott and Costello Meet
Frankenstein to Ghostbusters to Shaun of the Dead.
The Canterville Ghost Summary
Horace B. Otis, a wealthy American, purchases Canterville Chase, an ancient English
manor-house, despite warnings that the house is known to be haunted. He moves into the
house accompanied by his wife, his eldest son Washington, his daughter Virginia, and his
two younger twin sons. Immediately upon arrival, the family is confronted by a bloodstain
in a sitting room. The housekeeper, Mrs. Umney, explains that the stain has been there
since 1575 and is the result of Lady Eleanore de Canterville having been brutally murdered
by her husband, Sir Simon de Canterville.
The Otis family takes a pragmatic perspective and scrubs the stain away; they repeat the
process when the stain continues to reappear every morning. The stubborn reappearance of
the stain, as well as other strange occurrences around the house, leads them to consider that
the rumor of the ghost may not be totally unfounded. These ideas are confirmed when one
night, the sound of clanking chains wakes Mr Otis from his sleep. He gets out of bed and
confronts a terrifying ghost, but responds only by recommending that the ghost oil his
chains so that he does not cause so much noise when he is walking around at night.

Mr. Otis is not the only family member who is not afraid of the ghost: the young twins
enjoy tormenting the ghost with pranks. The ghost is very proud of his tradition of
terrifying visitors for hundreds of years, and he is determined to strike fear into the
American family. However, the more and more terrifying he tries to be, the more they
either make fun of or ignore him. Things hit rock bottom for the Canterville Ghost when
the twins actually create a fake ghost of their own to scare the real ghost. He accepts that he
has lost his status and power, and he begins to become depressed and pine away.

Meanwhile, Virginia's beauty has attracted the attention of the young Duke of

Cheshire, who comes to stay at Canterville Chase. While he is visiting, Virginia
unexpectedly comes across the secret hiding lair of the ghost. The ghost explains his
sadness and suffering, telling her that he longs for the peaceful experience of death. He also
tells her that because of her purity and innocence, she can help him to achieve this peace.
Even though she is frightened, Virginia agrees to help; the two of them pass through a
secret opening in the wall and vanish.
When Virginia cannot be found, her family and the Duke become very upset. A few hours
later, Virginia appears in the dark at the top of the stairs. Her only explanation of her
disappearance is that she has assisted in finally bringing eternal rest to the Canterville
Ghost. As a token of his thanks and affection, Sir Simon has given her a box filled with
jewels. Virginia leads the family into a secret chamber, where they are greeted by the sight
of his skeletal remains. Four days later, Sir Simon’s body is finally laid to rest with a proper
burial.

Virginia subsequently marries the Duke of Cheshire. Although she never tells anyone what
she experienced when she vanished with the Ghost, she always reflects affectionately on
him and his memory.
The Canterville Ghost Character List
Sir Simon Canterville, The Canterville Ghost
Sir Simon Canterville was a 16th-century English aristocrat who lived at Canterville Chase,
where he murdered his wife. As a result, when he died nine years later, he became a ghost
destined to haunt the house rather than moving on to a peaceful afterlife. He initially
enjoyed his fame as the Canterville ghost, but after his unpleasant encounters with the Otis
family, he begins to long for peaceful repose.
Virginia Otis
The adolescent daughter of Mr. and Mrs. Otis. She comes to live at Canterville Chase along
with her family, and is one of few characters to show sympathy to the ghost.
Duke of Cheshire
The Duke of Cheshire is a wealthy young English aristocrat who falls in love with, and
eventually marries, Virginia Otis.
Hiram B. Otis
Hiram Otis is a wealthy, middle-aged American man who purchases Canterville Chase in
order to live there with his family. he is a pragmatic and no-nonsense character, but he also
seems to be quite a lenient father since he makes no attempt to discipline his children for
unruly behavior.
Lucretia Tappan Otis (Mrs. Otis)
Lucretia is the wife of Hiram Otis, and mother to Washington, Virginia, and the twins.
Stars and Stripes (the Otis twins)
The youngest Otis children are a set of twin boys who are never named in the story, instead
referred to as "Stars and Stripes." They spend most of the story tormenting the ghost, and
they do not seem to be afraid of him at all.
Washington Otis
Washington is the eldest child of the Otis family.
Mrs. Umney
Mrs. Umney works as the housekeeper at Canterville Chase. She is initially employed by
the Canterville family, but she continues to work there after the Otis family buys the
property and moves in.
Lord Canterville
Lord Canterville is an English aristocrat and the descendant of Sir Simon. At the start of the
story, he sells his ancestral family home to the Otis family.
Rev. Augustus Dampier
A well-respected British cleric and intellectual.
The Canterville Ghost Glossary
Portal
A gateway.
Barren
Infertile or unproductive.
Dreamy
Vague.
Severity
Seriousness.
Abstract
Non-realistic or theoretical.
Sensuous
Preoccupied with a material or physical response, especially of pleasure.
Phenomena
A striking or unusual person or thing.
Punctilious
Extremely attentive to, or observant of, conventions and codes of behavior.
Impresarios
A manager or director.
Cheroot
A type of cigar.
Phantasmata
A supernatural or non-material appearance.
Hominy
A type of coarsely ground corn, often used to make a traditional American dish called grits.
Gyves
A type of shackle, especially designed to be placed on a prisoner's leg.
Vermilion
A shade of brilliant scarlet red.
Phosphorescent
Displaying a tendency to glow or radiate light.
Palsy
A family of diseases that result in muscular tremors and trembling.
Falchion
A type of sword.
Perdition
Loss of one's soul; damnation.
Gibber
To make incomprehensible sounds; to try and speak without being articulate.
Insolent
Rude, insulting, or disrespectful.

The Canterville Ghost Themes

American and British cultures
The contradiction between cultures of the New World and the Old World runs through the
story. British characters like Lord Canterville, Mrs. Umney, and the Canterville
ghost himself are interested in preserving the status quo, respecting traditions, and doing
things according to ceremony and rituals. They tend to possess respect for the past, and also
for an individual's rank and status. The American Otis family, on the other hand, is
skeptical, materialistic, and down-to-earth. They only believe in what they can see in front
of them, and always look for the most direct and pragmatic way to solve a problem.
Theatricality and Performance
The Canterville Ghost can shapeshift into a number of different forms, and these
manifestations are presented as if they are different characters he plays. His process of
preparing to appear in a specific form is compared to an actor getting ready to play a certain
part, and the pride he takes in provoking fear echoes the way an actor would hope to
achieve a certain emotional effect on his audience. Wilde uses this theme of theatricality to
create comedy, since it becomes clear that the ghost is not inherently terrifying: he has to
make a deliberate and intentional effort to appear that way. This theme also helps to make it
clear why it is hurtful to the ghost when the Otis family does not react to him, as he is
compared to a failed artist who can no longer impress his audience.
Tradition and Heritage
As an ancient member of the Canterville family who still lives in the house, the Ghost
represents tradition and heritage. Even though his presence can be unpleasant, it is
considered to be part of the Canterville family legacy and therefore is treated with respect
and deference by characters like Mrs. Umney. In fact, the number of people he has
frightened over the centuries suggests that he is even a bit famous and sought-after, and that
the Canterville family is likely proud of being able to say that their family legacy can be
traced back for centuries. The Otis family, however, prioritizes modern convenience and
ease over respecting traditions, which explains why they try to find ways to make the
presence of the ghost less disruptive.
Innocence
Due to her young age, sheltered upbringing, and kind heart, Virginia Otis is a figure
who represents innocence in the story. The ghost is drawn to her because he believes she
will be sympathetic to his suffering, and also because he knows Virginia can help him. His
sinful and corrupt past means that the Angel of Death will not listen to his pleas for
peaceful rest in the Garden of Death; however, if Virginia can intercede on his behalf, he
has a hope of being redeemed. Innocence is shown to be a way of lifting a curse and
providing redemption.
Shame
As the ghost struggles more and more trying to strike fear into the Otis family, he begins to
feel a failure and becomes ashamed of no longer being able to provoke fear. His identity
has been rooted for a long time in successfully performing his role: he finds it satisfying to
know that people experience intense reactions to him, and he also feels a sense of duty and
obligation towards completing his ghostly tasks. When his identity is threatened, the ghost
first lashes out, and then shrinks into shame and despair. Eventually, his shame turns out to
be productive: it helps him to realize it is time to move on and let go of his role in order to
find peace.
Money
Money is a subtle but important theme in the story; it is implied that the reason Lord
Canterville needs to sell his family home to the Otis family in the first place is because he
needs the money. At the time Wilde was writing, it was becoming increasingly common for
English aristocrats to be suffering from economic troubles even while they owned huge
houses and many valuable artifacts. In contrast, a new wave of wealthy Americans
possessed plenty of cash, and were eager to purchase things that they hoped would help
them to appear sophisticated. Americans would often buy artifacts and land from European
aristocrats, and they would also end up marrying their daughters into noble families. While
they violate many customs and traditions, the Otis family is tolerated and eventually even
embraced because of the wealth they have to offer.
Peace
At first, the ghost seems very satisfied with his life creating chaos and disruption. He
eventually confides that he longs for peace: he would like to be accepted into the Garden of
Death, where he can rest quietly for eternity knowing his sins have been forgiven. His
desire for this peace leads Virginia to help him, and once he is finally laid to rest, readers
can assume that the ghost achieves the redemption and peace he has longed for.

The Canterville Ghost Quotes and Analysis

If he really declines to use the Rising Sun Lubricator, we shall have to take
his chains for him. It would be quite impossible to sleep, with such a noise
going on outside the bedrooms.
Mr. Otis, pg. 189
Mr. Otis speaks these lines shortly after the existence of the ghost is confirmed by him
clanking his chains around and appearing in the hallway. Mr. Otis is not at all frightened by
the ghost, but he is annoyed by the loud noise disrupting his sleep; so, he comes up with the
very practical solution of the Ghost oiling his chains so that he will not create so much
noise. The lack of fear and practical solution reflect the pragmatic disposition of Mr. Otis,
and the Otis family in general. They are not frightened or impressed, even by very unusual
and striking events.
I come from a modern country, where we have everything that money can
buy; and with all our spry young fellows painting the Old World red, and
carrying off your best actors and prima-donnas, I reckon that if there were
such a thing as a ghost in Europe, we'd have it at home in a very short time
in one of our public museums, or on the road as a show.
Mr. Otis, pg. 184
Mr. Otis speaks these lines to Lord Canterville when he explains why he does not believe in
ghosts. Mr. Otis comically describes the relationship between Americans and Europe: at
this time, it was common for wealthy Americans to spend time in Europe, where they often
traveled extensively and purchased art and artifacts to bring back to America. They were
also often patrons of art and culture since they had money, and they liked to create the
impression of having sophisticated taste. Mr. Otis refers to a ghost as simply another sort of
European luxury import, and assumes that it would be one more thing for Americans to
purchase and show off.
It is absurd asking me to behave myself. I must rattle my chains, and groan
through keyholes, and walk about at night, if that is what you mean. It is
my only reason for existing.
The ghost, pg. 196
The ghost speaks these lines, annoyed at the suggestion that he could try to behave in less
obtrusive ways so that he would not disrupt the Otis family so much. He clings to his way
of life because it is all he knows, and because he knows there would be no other role for
him in the modern world. He believes he has a solemn obligation to keep up appearances
and expectations. These lines foreshadow the fact that by the end of the story, the ghost will
have realized that it is time for him to give up his way of life; fortunately, he is able to
exchange his ghostly ways for peaceful eternal rest.
With the enthusiastic egotism of the true artist he went over his most
celebrated performances.
 Narrator, pg. 188
The narrator makes this sly comment while describing how the ghost falls into a reverie,
remembering all the times where he has frightened people in the past. These lines explicitly
present the ghost as an artist-figure: he takes pride in his skill and the effect it has on his
audience. The narrator suggests that most creative individuals take pride in their skill and
success, and that if they did not receive praise and recognition, it would be painful for
them. This challenges the idea of artists creating solely for the pleasure of creation, and
acknowledges the role that publicity and fame can play in the creative impulse.
With regard to little Virginia, he had not quite made up his mind. She had
never insulted him in any way, and was pretty and gentle.
Narrator, pg. 190
These lines reflect the G\ghost's train of thought as he prepares to make his most dramatic
attempt at frightening the family. He has carefully planned specific ways to terrify all of the
other family members, but he is unsure how to behave towards Virginia. The ghost's
hesitation about trying to frighten the young girl stems in part from a recognition that she
has not tried to injure or upset him, and therefore it would be unjust to target her. He also
shows a more aesthetic appreciation based not on Virginia's behavior but on her demeanor
and appearance. These lines foreshadow that the ghost is already fond of Virginia and that
the two of them will have further interactions later in the story.
Never having seen a ghost before, he naturally was terribly frightened.
Narrator, pg. 191
These lines refer to the ghost's reaction when he confronts the fake ghost the twins have set
up to trick him. The lines are very ironic and comical: the Canterville Ghost takes great
pride in his ability to frighten others, but he naively falls for an attempt to scare him. While
the human family is not afraid of a real ghost, a ghost is afraid of a fake one. This reaction
suggests that the Canterville Ghost is actually quite delicate and high-strung: he becomes
emotional and anxious quite easily, and he does not share the down-to-earth attitude of the
Otis family.
Raising his withered hands high above his head, [he] swore, according to
the picturesque phraseology of the antique school, that when Chanticleer
had sounded twice his merry horn, deeds of blood would be wrought, and
Murder walk abroad with silent feet.
Narrator, pg. 192
These lines describe the furious reaction of the ghost when he realizes that he has been
tricked and embarrassed. The language here parodies an older and more ornate style of
writing, as well as the Gothic conventions that the story parodies. The ghost uses a
traditional timeline for vowing revenge: before the cock crows. He expresses this in even
more complicated language, by using the name Chanticleer, which was a medieval term for
a rooster, and then poetically describing his plan with the imagery of Murder personified as
a figure walking around. This dramatic and poetic language shows that the ghost is out of
touch with the modern world. It is also his attempt to elevate events back into the world of
drama and high art, where he thrives. The fake ghost threatens to evoke the reality that
there is nothing dramatic or supernatural left in the modern world, and the ghost now has to
try to desperately sustain the tone where his performances made sense and appealed to an
audience.
Poor Sir Simon! I owe him a great deal. Yes, don't laugh, Cecil, I really do.
He made me see what Life is, and what Death signifies, and why Love is
stronger than both.
Virginia, p. 204
Virginia speaks these lines near the end of the story, after she is married to the Duke of
Cheshire. Her husband has been teasing her about the fact that she has never explained
what happened during the hours she was missing with the ghost. Although Virginia refuses
to give any details, she implies that she was transformed by her experience and became
much wiser as a result. She now knows what is truly important, and that she is no longer the
innocent and childish figure she was at the start of the story. Virginia's refusal to fully
explain what happened to her creates a sense of mystery in the story and also reflects a
feeling of intimacy she shared with the ghost.
As for colour, that is always a matter of taste: the Cantervilles have blue
blood, for instance, the very bluest in England; but I know you Americans
don't care for things of this kind.
The ghost, pg.197
These lines reflect a sly, witty joke that Wilde makes. When Virginia confronts the ghost
about using her paints to recreate the bloodstain every day, he comments on the idea that
blood can be different colors. "Blue blood" has long been a term used to refer to individuals
from noble or aristocratic families; the ghost makes a joke when he states that the
Cantervilles have blue blood, acknowledging the status and heritage of this family. In
contrast, Americans had the reputation for rejecting the idea of a hereditary nobility in
favor of a society where anyone could become wealthy through hard work and social
mobility. Therefore, the ghost implies that Americans are disinterested in whether or not
someone comes from a well-known family.
That you must weep with me for my sins, because I have no tears, and pray
with me for my soul, because I have no faith, and then, if you have always
been sweet, and good, and gentle, the Angel of Death will have mercy on
me.
The ghost, pg. 198
The ghost speaks these lines as he urges Virginia to help him. He cannot intercede for
himself because his past crimes have robbed him of the qualities required for mercy.
However, Virginia is still innocent, young, and pure, and therefore if she intercedes on his
behalf, he might be forgiven and redeemed. These lines suggest that Virginia is actually a
very powerful character in the story: she possesses a power that no one else seems to hold,
and the Ghost's fate rests in her hand. The idea that Virginia might be able to redeem the
Ghost through her goodness picks up on themes of feminine goodness and virtue being
capable of absolving masculine guilt for past crimes and misdeeds; this theme was
relatively common in Victorian literature.

The Canterville Ghost Summary and Analysis of

Part 1
Summary
Mr. Hiram Otis, a wealthy American, decides to purchase an English manor-house called
Canterville Chase, despite being warned that the house is haunted. Lord Canterville is
the current owner, and before finalizing the sale, he explains to Mr. Otis that the presence
of the ghost has made it unpleasant to live in the house. The presence of the ghost dates
back to 1584, and he is known to appear before a death takes place. Mr. Otis is not
convinced that the ghost actually exists, and decides to buy the house anyway.
A short time later, Mr. Otis moves into the house with his wife and their four children:
Washington, Virginia, and two young twin boys known as Stars and Stripes. They are
welcomed at the house by Mrs. Umney, the housekeeper. Mrs. Otis is alarmed to notice
a bloodstain on the floor in the library, but Mrs. Umney explains that the stain has been
there for centuries. In 1575, Lady Eleonore Canterville was murdered by her husband, Sir
Simon. 8 years later, he disappeared, and his body was never found. Ever since then, the
house has been haunted, and the bloodstain remains visible, marking the spot where the
murder was committed.
Washington Otis thinks this story is ridiculous and promptly uses a commercial
cleaning product to scrub off the bloodstain. Just as he finishes doing so, a thunderstorm
breaks out and Mrs. Umney faints in horror. The Otis family is dismayed by her reaction,
and despite her warnings that something bad is going to happen, they reassure her that they
are not afraid of ghosts and increase her salary to persuade her to stay.
Analysis
The opening of the story immediately sets up the contrast and playful sparring between the
Old and New World, represented respectively by Lord Canterville and Mr. Otis. Lord
Canterville's title makes it clear that he comes from a family that can be traced back for
centuries and has been steadily passing down wealth centered on the landed estate and
grand house of Canterville Chase. The fact that he is not only wealthy but also titled
indicates his ties to a particular system of European social class, where it is not just one's
money but one's heritage and status that establishes a social position. By contrast, Mr. Otis
is identified as an "American Minister" which implies that he holds some sort of
government position and that his wealth is tied to work and professional success, not
inheritance. Whereas Lord Canterville's conversation includes references to a Dowager
Duchess and Cambridge (an English university founded in the 1200s), Mr. Otis speaks with
pride of being part of a "modern country."

Despite these differences, the two men easily conclude a mutually beneficial business deal.
While Lord Canterville suggests that part of the reason for selling the house is that the
presence of the ghost makes it difficult to live there, most of Wilde's readers would have
placed the sale in a larger context where many wealthy Americans were purchasing
elements of European culture including art, property, and historical artifacts. It was not
uncommon for aristocrats like Lord Canterville to find themselves in the awkward situation
of trying to keep up appearances and lavish lifestyles without much ready cash on hand,
and these sales were helpful in that regard. On one hand, Mr. Otis seems somewhat
contemptuous of English traditions and the aristocracy; for him, ideas like inherited titles
and ghosts are relics of an age that has no place in the modern world. He is also clearly very
proud of American political ideals: all of his children bear names associated with America.
Washington is of course named after George Washington, while Virginia's name echoes the
name of the state of Virginia, one of the 13 original colonies. The nickname of the twins
alludes to the American flag.

The arrival of the family at Canterville Chase uses familiar Gothic tropes and imagery. As
night as falling, the family arrives at an unfamiliar and isolated house. The weather
becomes stormy and foreboding, and the old-fashioned décor and architecture all make the
setting seem like an archetypal example of a haunted house. Within this set-up, the
presence of the bloodstain and the story behind it seem perfectly in keeping with the mood.
A murder, a vengeful ghost, and a body that was never laid to rest are all well-worn
elements of a titillating ghost story, and Mrs. Umney seems to understand this as she fills in
the Otis family. She seems to take pleasure in telling the story; for her, this heritage is part
of what makes the house special and her comment about tourists coming to admire the stain
indicates that most people take pride in this unique history.

However, the Americans seem to consider the bloodstain merely a nuisance. It doesn't scare
them, but it does annoy them, and they do not see the fact that it has been there for a long
time as any reason to treat it respectfully. There had been a long tradition of mocking new-
money families (both English and not) who buy historically significant things and then
attempt to modernize them without appreciating the history behind them. The Americans
use a modern, mass-produced product to clean the stain, and the brand-name references
indicate that the detergent and stain remover are widely advertised. All of this reflects the
contemporary system of capitalism that runs the risk of undermining the way that
Canterville Chase has been able to remain frozen in time. The Otis family treat the house
like it is a commercial product resembling the detergent, something that can simply be
bought and sold and then adapted to suit the new owner's taste. While Mrs. Umney is
horrified by the values of her new employers, she seems to mirror Lord Canterville in that
she is also willing to trade respect for tradition for ready money. She agrees to stay on at
the house, as long as her salary is increased.
The Canterville Ghost Summary and Analysis of
Part 2
Summary
The next morning, the stain has reappeared, and despite Washington’s diligent efforts to
clean it away, it continues to reappear every morning. The Otis family begins to consider
the possibility that the ghost may actually exist after all.

A few days later, Mr. Otis is awakened in the middle of the night by the sound of clanging
metal. He goes out into the hallway and confronts the horrifying figure of a ghost.
However, Mr. Otis remains perfectly calm and suggests the ghost oil his chains so that he
does not cause so much noise. On top of this, as the ghost walks away, the young twins,
who are also unafraid, throw pillows at him. Back in his room, the ghost reflects on the
upsetting realization that after hundreds of years of terrifying anyone who came to the
house, the Otis family seems to have no reaction to him. He begins to strategize about the
best way to proceed.

Analysis
The reappearance of the stain reflects that the struggle between ancient traditions and
modern values is not going to be a simple one to resolve. Because of their pragmatic
outlook, the Otis family assumed they had solved the problem by scrubbing the stain away,
but things that have been around for centuries, including the stain and an entire system of
cultural values, are not simply going to vanish overnight. Still, the Otis family views the
possibility of the ghost actually existing as an interesting intellectual possibility, not
anything to be afraid of. Their outlook is so rational and scientific that they are not
impressed, merely intrigued.

The first sighting of the ghost confirms this disconnect between anticipated and actual
response even further. The description of what Mr. Otis sees when he goes out into the hall
and encounters the ghost is quite horrifying: the ghost is clearly a menacing and hostile
presence. This would be a moment of climax in a typical Gothic story, but here it functions
as a sharp anti-climax. Mr. Otis is not at all impressed, and just wants to get back to sleep.
While "the fictional ghost-seer is typically caught in a disconcerting double-bind between
instinctive faith in the evidence of one's sight and the troubling knowledge that vision is
often deceptive and unreliable" (Smajic pg. 1109), Mr. Otis's supreme self-confidence and
self-assurance allow him to remain perfectly calm and unfazed at this moment. He again
references a commercial, mass-produced product; for Mr. Otis, buying the right thing
seems to always be the solution to a problem. The lack of reaction from Mr. Otis is
heightened by the reaction of the twins: usually, children would be the first to be frightened
by a menacing ghost. But here, in fact, the two little boys are more aggressive, and the
person who is endangered by this encounter is the ghost himself!

The ghost's reflections after he returns to his hiding place offer insight into how he thinks
of his identity and role at Canterville Chase. He takes a lot of pride in having successfully
frightened many people during his time there: the memories he recollects allow Wilde to
poke fun at many of the typical plotlines of popular Gothic and ghost stories. They also
show the ghost as someone who dwells in the past: not just the past of his own lifetime, but
all the history he has lived through over the past 3 centuries. While Lord
Canterville seemed to be able to sell his home and heritage without a second thought, the
ghost here becomes a proxy figure for the individual with a deep emotional connection to a
place based on their connection to its history, and the memories it holds.
The ghost is also positioned as an artist, specifically an actor. The different personas he
appears in are presented as stage roles, the way an actor might be known for their
performance of Macbeth or Ophelia. Especially in the late 1800s, when theatre was a
dominant form of entertainment and well-known actors could attain celebrity status,
likening the ghost to an actor who is starting to lose his popularity would have heightened
tension and sympathy. In the same way that someone who has been very popular while
young and beautiful might be dismayed to notice that their looks and popularity are fading,
the ghost is alarmed to think that the modern audience as represented by the Otis family is
no longer impressed by him.

The Canterville Ghost Summary and Analysis of

Parts 3 & 4
Summary
The next morning, the Otis family discusses the ghost, hoping that he will not be so noisy
in the future. They do not see him, however, for a few days. In the meantime, the stain
continues to reappear, often taking on different colors. While the rest of the family is
intrigued, Virginia always seems to be upset by the sight of the stain. A few days later, the
family hears a crash in the middle of the night and goes downstairs to find that the ghost
has knocked over a suit of armor and injured himself. The twins shoot at him with their
pea-shooters; the ghost tries to scare the family by laughing in a demonic way, but the only
result is that Mrs. Otis asks if he has indigestion and tries to offer him some medicine.
Angry and humiliated, the ghost retreats to his room.

A few days later, he prepares for a third attempt at frightening the family. A violent storm
is taking place, and he hopes to capitalize on the effect by moving into each of the
bedrooms and frightening each of the family members in a specific way. He is unsure,
however, of whether or not he wants to frighten Virginia, since he has observed that she is
always gentle and kind. The atmosphere is perfect, but just as the ghost is about to enter
Washington’s room, he is confronted by a terrifying ghost. The Canterville
Ghost flees in terror, back to his own room.
Eventually, he calms down, and just as day is breaking, he goes back to where he saw the
ghost. He realizes that he has been tricked: the “ghost” he believed he saw was actually just
a figure the twins had made out of a bed sheet, a turnip, and other household items. The
ghost is furious and vows that he will wreak revenge before the cock has crowed twice. In a
bizarre coincidence, the cock only crows once that morning, and the ghost goes off to sulk
in private. He is now very agitated and depressed since he has always taken his obligation
to haunt the house seriously and the Otis family is now making it impossible for him to
carry out his duties. He tries to be less obtrusive, but the twins continue to torment him.

The ghost makes one more attempt at frightening the twins, but they manage to spill a jug
of water onto him. He has now given up on the idea that he will be able to frighten the
family, and so he stops appearing. After a while, the family assumes the ghost has left the
house. In the meantime, the young Duke of Cheshire has come to stay at the house,
since he is hoping to win the heart of Virginia. The ghost is tempted to try and scare him,
but by this point, he is so nervous about what the twins will do that he cannot bring himself
to appear.
Analysis
Virginia's reaction to the changing colors of the bloodstain indicates that she is somehow
distinct from the rest of her family. There have been a few hints of this earlier in the story:
while her name seems to connect her with her American heritage, it also reflects that
America and England have always been interconnected. When Virginia was established as
a colony in the 16th century, it was named after Queen Elizabeth I, the "Virgin Queen." It
has already been noted that Virginia has made a positive impression on several members of
the English aristocracy and that one young Duke has already proposed to her. While the rest
of the Otis family is merely intellectually interested in the puzzle of the ghost, Virginia
seems to be the only one sensitive enough to respond to emotion. Given her identity as a
young woman, she might also find the story of a woman having been murdered by her
husband to be particularly upsetting.

For the rest of the family, however, the ghost continues to be a subject of ridicule. The
incident where he knocks over the suit of armor is a sly allusion to one of the most famous
Gothic plotlines: in Horace Walpole's Gothic novel The Castle of Otranto  (1764), a
character is crushed to death when a giant helmet from a suit of armor fall on him. The
presence of the suit of armor itself is also a comment on how Canterville Chase is still
fixated on the past: knights and armor have no place in the modern world, and their
presence is going to cause problems for those who are trying to adjust and adapt. The
ghost's inability to put on the armor, since it turns out to be too heavy for him, signals that
the weight of the past is getting to be too much. He can no longer be the only individual
who is maintaining traditions and supporting history all by himself, but he seems
determined to try.
The Otis family, however, is resistant. The twins take pleasure in tormenting him; in an
interesting inversion, while one might expect the ghost to be demonic and the twins to be
innocent, the two young children actually seem to be much more violent and cruel than he
is. Even though he doesn't seem to want to admit it, the ghost is quite timid and easily
intimidated. When he feels threatened, he often postpones his plans and slinks off to his
secret lair rather than fighting to stand up for himself. The ghost takes a long time to build
up his confidence, but he has grand plans for the special appearance he hopes to make. The
implication seems to be that the ghost prefers fantasy and imagination more than actual
activity, which is another reason he fails to impress the Otis family. They respond to
decisive action and immediate, practical actions, whereas the ghost seems to live in a more
dreamy, slower-paced world.
The lead-up to the ghost's encounter with the fake specter shows Wilde's skillful ability to
switch between comedy and horror: the description of the ghost's approach and his
encounter with the fearful figure is likely to leave even the sophisticated modern reader on
the edge of their seat. Wilde then sharply veers back to comedy and parody with his
description of the fear the ghost feels, and him fleeing back to his bedroom to hide under
the covers like a frightened child. The ghost's aesthetic tastes are shaped by his own
audience response: he reacts exactly the way he would want the Otis family to react to him,
and his inability to let go of the way he performs his role is determined by the types of
performances he is impressed by.

The realization that he has been tricked is particularly shocking and upsetting to the Ghost
because it reveals that he has been beaten at his own game; his skill at manipulating and
causing fear can be imitated even by children. The fake ghost has been composed out of
mundane, everyday objects, and there is nothing glamorous or sophisticated about it. This
incident marks the turning point after which the Ghost falls into a sort of depression,
becoming listless and losing energy and motivation to continue haunting. Aristocratic
figures were sometimes contrasted as being overly delicate or feeble, since they had no
reason to keep up with the pace of the modern world, and Wilde plays with the stereotype
by showing the Ghost becoming purposeless and sickly.

The Canterville Ghost Summary and Analysis of

Parts 5 & 6
Summary
Virginia goes out riding with the young Duke and tears her clothes. Embarrassed, she
returns to the house and sneaks up the back staircase in order to avoid being seen. As a
result, she passes by a rarely used room and sees the ghost sitting inside. She goes in and
tries to console the ghost by telling him that the twins will soon be leaving for boarding
school. The ghost is defensive, trying to justify both his role in haunting the house and his
action of killing his wife. Virginia gets frustrated, and accuses him of having used her
paints to fill in the bloodstain, which explains why it has been appearing in different colors.

The two argue, but the ghost eventually confides that he is exhausted, and longs to rest
peacefully. He tells her about the Garden of Death, a peaceful afterlife, and explains that if
she is willing to help him, he might still be able to be forgiven and redeemed. An ancient
prophecy predicts that if a young child will help him, peace may still come to the
Canterville house. Even though Virginia is afraid, she agrees to help the ghost. The two of
them pass through an opening that appears in the wall and vanish.

A short time later, the family notices that Virginia is missing. At first, they assume she
might be out gathering flowers or walking the grounds, but they become more alarmed as
time passes and she is nowhere to be found. Mr. Otis recalls that some gypsies have been in
the area recently, and he wonders if they might have taken Virginia, so he sets out for their
camp. He quickly realizes that the gypsies have moved on, and with the help of the Duke,
they ask for word of Virginia in nearby towns. With no news, Mr. Otis returns to the house
late that night, tired and worried. Unexpectedly, at the stroke of midnight, Virginia
suddenly appears at the top of the stairs, holding a small box in her hands.

Virginia explains that she has been with the ghost and that he has given her the box of
jewels as a gift. Virginia then leads her family into a hidden chamber that contains a
skeleton. The skeleton is chained to the wall and has died as a result of being starved to
death: presumably, these are the bones of Sir Simon, who was imprisoned and starved by
his wife’s brothers in punishment for her murder. Virginia kneels down to pray next to the
skeleton, and when she does, the old almond tree outside spontaneously bursts into bloom.
Virginia explains that this is a sign that God has forgiven the Canterville ghost.

Analysis
Up until this point Virginia has been largely a marginal character, but she now becomes
central to the plot. There was a brief mention of the Duke of Cheshire being attracted
to her at the start of the story, and he now returns with the more purposeful role of suitor.
One of the most prominent forms of cultural and commercial exchange happening between
Europe and America at this time was taking place through marriages: more and more
European aristocrats were marrying American heiresses in exchange for large dowries. This
arrangement, like the sale of houses and art, tended to trade sophistication and social
prestige for the pragmatic necessity of available cash. There were many jokes and cultural
references about brash American mothers striving to see their daughters married to a Duke
or an Earl, and the possibility of Virginia being introduced into English society once the
family was settled at Canterville Chase might explain part of the family's motivation for the
purchase.
The lead-up to Virginia's encounter with the ghost contains some subtle contextual cues
about why this moment is transformational for her. It would have been somewhat unusual
for Virginia to have been out unsupervised, in an isolated area, with a young man who was
clearly attracted to her. While the torn dress is attributed to an incident while riding, it
contains the potential for a sexualized double meaning: torn or damaged clothing might
symbolically indicate that Virginia's purity or innocence have also been breached in some
way, even if only by a gentle kiss. She comes back to the house with a sense of secrecy and
shame about whatever has happened while she was out with the Duke, and the reason she
ends up alone with the ghost is that she is trying to avoid the rest of the household.

In her conversation with the ghost, Virginia wavers between sympathy and moral justice.
She knows he is being mistreated by her brothers, but she also calls attention to the fact that
he is guilty of a crime. This is one of the only moments where the ghost's act of murdering
his wife is taken seriously, and it is interesting that Virginia, as a young woman who is
probably approaching marriage herself, is the one to think of Lady Eleonore as a real
person deserving of sympathy. The ghost is unrepentant; he seems to think he is the one
who has been wronged because of the way he was punished for the murder. The narrative
of the story also seems to side with this perspective; the topic of the murder is quickly
dropped, and the tone becomes much more serious as the ghost pleads for peace and rest.
It is unclear to what extent the ghost's recent persecution has led him to realize that he is
fed up with haunting, and would prefer to simply sleep quietly in the Garden of Death. It
seems to be the case that he has finally accepted that he has no purpose in the modern
world, and now without a sense of value, he would rather fade out of the world altogether.
Moreover, there seems to be recognition that authenticity is preferable to constantly acting,
posing and pretending: "Although Wilde might praise artificiality and the wearing of masks
elsewhere, the ghost's experience reveals that this mode of existence is the lonely refuge of
an anguished sinner, who gladly forsakes it to gain the peace that forgiveness brings"
(Cohen 59).

However, because of his crimes, the ghost cannot pass into the afterlife quietly; he needs
the intercession of Virginia because of her purity and innocence. The discussion of the
prophecy, the warnings Virginia receives, and the mysterious passage through the wall all
shift the story from parody into serious engagement with the Gothic genre. Wilde goes
from mocking these tropes to using them to make the audience curious and eager to see
what will happen next.

However, Wilde also knows how to use mystery to heighten the drama and impact of the
story. When Virginia reappears at the stroke of midnight, she doesn't give any real details
about what has happened or what she has seen. The Gothic mode of this section of the story
continues with the discovery of the skeleton, and the mystical blossoming of the almond
tree. Virginia remains partially a child-figure, but also seems to have passed into a more
adult role of the young woman who is now capable of offering spiritual redemption through
her love. The Duke refers to her as an angel, echoing the popular Victorian idea of "the
angel of the house," where a wife and mother was seen as the spiritual and moral compass
of the family. The gift of jewels from the ghost also suggests a sort of dowry—or even a
gift from a lover.

The Canterville Ghost Summary and Analysis of

Part 7
Summary
Four days later, a magnificent funeral takes place and Sir Simon’s bones are finally laid to
rest in the local graveyard. Lord Canterville comes to attend the funeral, and Mr. Otis
asks about whether he would like Virginia to return the jewels she was given. Mr. Otis
explains that he sees the jewels as being part of the Canterville family heritage and that he
is uncomfortable with the decadence and luxury they represent, but Lord Canterville insists
on Virginia keeping the jewels.
A few years later, she marries the young Duke of Cheshire and takes her place amidst
the English aristocracy. Shortly after their marriage, the Duke and Virginia go to
Canterville Chase and stop to visit Sir Simon’s grave. The Duke teasingly complains that
Virginia is keeping secrets from him: she has never explained exactly what happened
during the time she was missing. Virginia says that she cannot disclose her secret, but that
she learned the meaning of life during her time with the ghost. The Duke agrees to let her
keep her secret, but the story ends with him playfully suggesting that she might someday
tell their children.
Analysis
The funeral and laying to rest of Sir Simon's bones symbolically mark the end of an era. He
has finally achieved peace, but the burial also indicates an acceptance that a certain way of
life and seeing the world has ended. The funeral itself, however, performs many ancient
traditions and reflects the continuity of the Canterville family heritage. Virginia shows her
special bond with the ghost by playing a prominent role in the funeral and laying flowers on
the grave; part of why the ghost seems to have been able to achieve peace and redemption
is because he was able to experience a real bond with another human being. When the only
thing he cared about was scaring people, he could not be redeemed, but his affection for
Virginia has set him free. Since his crime was committed against a woman, it also seems
appropriate that another woman needed to be the one to redeem him and set him free.

The jewels clearly symbolize tradition, heritage, and the past; they are ancient, and were
bestowed as a gift, rather than earned or purchased. Mr. Otis's discomfort with the jewels
reflects his discomfort with the aristocracy, their traditions, and his dawning realization that
these might be seductive to his daughter. He wants to see them taken away by Lord
Canterville because he worries that their presence will somehow corrupt the practical,
democratic values he has tried to teach to his daughter. Lord Canterville, however, operates
by a system in which items can be freely bestowed and inherited: if Sir Simon chose to give
the jewels to Virginia, then that was his choice to make and Lord Canterville will respect
his ancestor by honoring those wishes.

Mr. Otis's suspicions about what the jewels might suggest about Virginia's future are
confirmed when only three years later, she marries the Duke. When Virginia appears at
court wearing the Canterville jewels, there is the impression of her having completed a
process of assimilation that began when she first felt sympathies for the ghost. She is now
going to participate in the very system of antiquated and possibly outdated traditions that it
initially seemed like her family was totally at odds with. The note that her father at first
opposed the marriage furthers this tension; however, the narrator's sly remark about the
coronet being the reward of good little American girls suggests that the relationship to old
traditions is not as clear-cut as it may have appeared. While "the spirit of Sir Simon
represents an elite pushed now not simply past culture but beyond nature into vanishing
point"( Platt pg. 12), there is something seductive about both first Sir Simon and then the
Duke as representatives of that dying elite, even if they also seem allied to ancient
patriarchal traditions that may prove dangerous to women.

The story's final scene offers an ambiguous interpretation of the nature of Virginia's
interaction with the ghost. The Duke's teasing and Virginia's affection for Sir Simon
position him almost as a former lover, as does Virginia's protective nature about the secrets
he taught to her. By describing their interaction as a transformational moment where
knowledge was revealed to her, there is the implication that the time she spent with the
ghost somehow helped Virginia to mature from a child into a woman. Her blush at the end
of the story is open to multiple interpretations; it may be the suggestion of children (linked
to sexual activity) that still makes Virginia shy, or it may be that something about the
nature of her secret provokes a blush. What is more important than the interpretation is that
Virginia is left in possession of her secret; as Maureen O'Connor writes, Virginia's blush is
a "multivalent and ambivalent erotic signifier, another moment of feminine silence, the
space within which Virginia is finally allowed to maintain possession of her own story. She
is not mastered by her husband's will to read and know her" (pg. 337).

The Canterville Ghost Symbols, Allegory and

Motifs
Pinkerton’s Champion Stain Remover (symbol)
The stain remover symbolizes the American philosophy of resolving problems in a
pragmatic way, and placing trust in science and consumerism. The appearance of a
mysterious bloodstain seems like it should be frightening, but the Otis family does not react
with any emotion; they simply see the bloodstain as an obstacle that they can handle. They
use the stain remover to respond to a challenging situation. The fact that the stain remover
is mass-produced and marketed under a brand name also highlights the American
philosophy of placing a lot of trust in consumer goods. They believe that money can be
spent to buy the right thing, and that money can therefore solve most problems.
The box of jewels (symbol)
When Virginia returns from her mysterious disappearance, she has a box of jewels that she
says Sir Simon gave her as a gift. The jewels symbolize Virginia's integrity and inner value,
as well as her transition into adulthood. The kindness and courage she shows by helping the
ghost reflect that she is a good person, and, more specifically, a good woman: the jewels
offer an external manifestation of that virtue and inner beauty. The jewels also symbolize
Virginia's connection to a different world and culture than the one she grew up in: her
father is uncomfortable with her accepting jewels because he knows they symbolize the
ideas of ancient tradition and hereditary wealth, which he is uncomfortable with as an
American and self-made man. Virginia, however, is going to marry into that world, and the
jewels symbolize the start of her transition into understanding it.
The blossoming of the almond tree (symbol)
When Virginia kneels down to pray next to Sir Simon's skeleton, an old almond tree
located on the grounds of Canterville Chase suddenly blossoms. The tree bursting into
bloom symbolizes the redemption of Sir Simon's soul: he is no longer doomed to restlessly
wander as a ghost, and now he can pass into the afterlife and be at peace. The blossoming
of the tree may also symbolize a change within Virginia: as a result of whatever she has
experienced during her time with the ghost, she is no longer a child, and is now emotionally
and spiritually prepared to transition into the role of wife and mother. The blossoming
indicates maturity, fertility, and greater beauty.
The sale of Canterville Chase (allegory)
When Lord Canterville sells Canterville Chase to Mr. Otis at the start of the story, the sale
functions as an allegory for the relationship between America and Europe at this time in
history. With the rise of industrialization, urban growth, and new systems of economic
distribution, many European aristocrats found they were no longer making much money off
of their land and estates, but that they still had enormous expenses. On the other hand, the
American economy was booming, and many men were able to acquire fortunes quite
rapidly. What they lacked was the houses, antiques, and fancy possessions that typically
symbolized someone's elevated status, and so they turned to Europe to travel and purchase
items to bring home. The transaction between the two men—one of whom has a lot of
history but no money, and the other of whom has lots of money but no heritage or traditions
—symbolizes these types of interactions.
The bloodstain (symbol)
The bloodstain symbolizes tradition and continuity with the past. It has been appearing for
more than 300 years and has become a well-known and notable feature of the house. Mrs.
Umney is quite proud of the bloodstain, and she not only accepts that it cannot be changed,
but she also does not actually want to disrupt something that has always been a certain way.
The Otis family, on the other hand, does not feel this attachment to the past: they simply
see the stain as an unpleasant inconvenience that can be resolved with the help of modern
products.

The Canterville Ghost Metaphors and Similes

"Miss Virginia E. Otis was a little girl of fifteen, lithe and
lovely as a fawn" (Simile)
This simile is used to introduced Virginia at the start of the story. The comparison indicates
her fragility and innocence, since she is likened to a young deer, which is typically
considered a vulnerable creature. By comparing Virginia to an animal, the idea is also
planted that she is more closely aligned with Nature than with human society: she values
following her natural compassion and doing what she thinks is right, not following social
codes and norms.
"His eyes were as red as burning coals" (Simile)
This simile is used to describe the ghost's fearsome appearance when Mr. Otis first sees
him. Burning coals carry the suggestion of causing pain, which implies the ghost may be
capable of violence, and also raise the traditional idea of hell as a fiery, burning place,
suggesting that the ghost is some sort of cursed spirit. The simile is a very traditional way
of describing a ghost, monster, or other supernatural figure, and it therefore conforms to
readers' expectations of a conventional Gothic story. However, the simile serves to enhance
the comedy that follows when Mr. Otis shows no sign of being afraid of the ghost.
"A horrible spectre, motionless as a carven image" (Simile)
This simile is used to describe the "ghost" that the Ghost of Canterville is initially terrified
by, only to later realize that he has been the victim of a cruel prank. The simile compares
the fake ghost to a sculpture or to an image carved of stone, and therefore puts an emphasis
on its stillness. By drawing attention to the way the fake ghost is motionless, the simile
foreshadows the revelation that it is not a real ghost. The simile also plays with a contrast in
different art forms: the "real" Canterville Ghost is often compared to an actor whereas the
"fake" ghost is compared to a sculpture. Just like an actor can perform art in a more vivid
way by being able to speak and move around, the "fake" ghost can only try to instill terror
by remaining still and lifeless.
"A hideous garment, like to his own, swathed with its silent
snows the Titan form" (Metaphor)
This metaphor is part of the description of the fake ghost that tricks and upsets the
Canterville Ghost. The white cloth of the fake ghost's garment is compared to "silent
snows," and the large size of its body is compared to a Titan. Since Titans were
mythological figures known for their huge and often fierce or threatening bodies, this
metaphor communicates why the Canterville Ghost is scared of this other ghost. The
metaphors give the description of the fake ghost a poetic and artistic tone that helps to make
the moment confusing to both the Canterville Ghost and the reader: this type of language
seems to suggest that the story has shifted into a Gothic or supernatural tone where
threatening spirits might actually appear. The language here also heightens the contrast
with the mundane reality when it is later revealed that the fake ghost is made out of
household materials like turnips and bedsheets.
"Her little lips trembled like rose-leaves" (Simile)
This simile is used to describe Virginia's reaction when she learns that the ghost has not
slept peacefully for more than 300 years. The trembling reveals that she is upset on his
behalf, while the comparison of the trembling to rose-leaves implies that she remains
attractive even while she displays this emotion. If anything, Virginia's sensitivity and
empathy enhance her beauty. The simile suggests that Virginia is also natural and authentic:
she doesn't try to hide her emotions, but rather openly displays them, just like the natural
world does not hide or fake anything.

The Canterville Ghost Irony

Virginia's marriage (Dramatic Irony)
Virginia's marriage is ironic because it shows the Otis family becoming embedded within
the English aristocracy. For much of the story, it seems like the Otis family has a totally
different approach and life philosophy, and that the point of the story if to contrast how
different Americans and Europeans are. However, the happy marriage between Virginia
and the Duke shows that both groups can get along, and that even if they make fun of them,
European aristocrats are not going to be able to survive without the Americans. Virginia's
marriage ensures that an aristocratic bloodline will continue through the children she will
presumably have, but those children are now ironically going to be connected to America
and American values.
The ghost's conscientiousness (Situational Irony)
Ghosts are usually seen as lawless and defiant of rules and expectations: they defy the basic
expectation of the dead not returning to the land of the living, and because of their
supernatural powers, they cannot easily be banished or defeated. While the Canterville
Ghost certainly does not like being told what to do, he ironically does feel very compelled
to maintain his honor and integrity. For him, this is connected to fulfilling certain tasks like
maintaining the bloodstain and haunting the halls at certain times. Even though more than
300 years have gone by, the ghost has never questioned his duty to continue to uphold
traditions and do things the way he has always done them. Ironically, a figure for whom
rules or laws no longer apply is far more concerned with following protocol than the actual
humans around him are. As Lydia R. Wilburn notes, "Wilde succeeds in upending
conventional notions of good and evil when he elicits from the reader some sympathy for
the Ghost who had committed a crime but who is responsible, concerned for others, and
polite" (Wilburn, pg. 49).
The ghost is asked to oil the chains (Situational Irony)
When Mr. Otis first encounters the ghost, he is annoyed by the sound of the clanking chains
and suggests that the ghost oil the chains to make them less noisy. This suggestion is ironic
because it inverts the expected power dynamic between the ghost and his victim. In most
ghost stories, the specter is the one who holds the power by frightening and threatening
their human victim; the person who is targeted by the ghost is usually at their mercy, and
inclined to do whatever they are told. Because he is not afraid of the ghost, Mr. Otis does
not take on the role of the victim, and it is the ghost who ends up being intimidated and told
what to do.
The Canterville Ghost is scared of another ghost (Dramatic
Irony)
When the Canterville Ghost encounters the fake ghost the twins have set up to fool him, he
is deceived into thinking it is another ghost like him. More importantly, and ironically, he is
terrified of this other ghost: he has exactly the reaction that the Otis family was expected to
have when he first started haunting them. Even though it seems like he should be aware of
the tricks and techniques used to inspire fear, the ghost still falls for it.

The Canterville Ghost Imagery

Stormy weather
Storms appear several times in the story, and they are usually described using vivid
imagery to help the reader understand what it sounded, looked, and felt like to be inside a
creaky old house on a stormy night. The imagery of stormy weather being featured as part
of an appropriate setting for supernatural occurrences dated back at least as far as the
origins of the Gothic; by including this type of imagery in his story, Wilde positioned it as
both participating in and parodying the Gothic tradition. The storm imagery also keeps the
reader on edge by raising the possibility that even in a story that seems to be mostly
comical, something bad might still happen.
The Garden of Death
The Garden of Death is described using delicate, peaceful, and beautiful imagery to evoke a
sense of what a paradise it is. The ghost is able to describe the garden in such precise terms
because he has spent so long longing for it and fantasizing about it, just like how someone
who is starving might be able to vividly describe the meal they would most like to eat. The
imagery also reinforces the idea of the ghost as an artistic figure, and someone who is
sensitive to beauty, which helps to increase sympathy for him.
Haunted house
Canterville Chase is presented using the traditional imagery of a haunted house: it is large,
old, isolated, full of creaky sounds and mysterious nooks and crannies. The imagery used to
describe the ancestral house prepares the reader to believe that the story of it being haunted
is possibly true, and to envision the house as a setting for supernatural events.
The fake ghost
The fake ghost is initially described in precise detail, making it easy for the reader to
imagine its terrifying appearance. Because it is not clear right away that this new ghost is a
trick, the imagery might actually cause the reader to become fearful. By using imagery to
create an effect of fear and horror, Wilde makes it clear that he understands why the
tradition of the ghost story is powerful, even as he is mocking it at the same time.

The Canterville Ghost The Canterville Ghost and

Gothic Literature
Gothic literature first emerged as a genre in the second half of the 18th century; Horace
Walpole's The Castle of Otranto (1764) is usually considered to be the first example
of a Gothic novel. The genre continued to be very popular until well into the 1800s, and the
flourishing of the Gothic genre allowed for its prominent characteristics to quickly become
well-known amongst readers and authors. Gothic novels usually involved a house or castle,
typically an ancient and isolated one where one or more characters (usually including a
virginal young woman) find themselves in a threatening situation. There is typically the
threat of a supernatural presence and often the presence of a Gothic villain as well—most
often, an older man with a dark secret and evil intentions towards a younger female
character. Gothic stories were most often set outside of England, usually in countries with
strong ties to the Catholic religion such as Italy or Spain. Additionally, Gothic stories were
often set during the medieval time period, or sometimes even earlier. The distance in both
time and geographic location allowed English readers to experience the pleasures of being
scared while also remaining comfortably secure that events such as these were not likely to
happen anywhere near them.
Even while the Gothic remained popular, authors began to parody the genre in works like
Jane Austen's Northanger Abbey (1817). Gothic parodies often mocked the
melodramatic and unbelievable tropes of Gothic literature, and sometimes involved a
character who was naïve or too quick to believe that ordinary events actually had some sort
of supernatural or threatening significance. Throughout the Victorian period, the Gothic
genre evolved to reflect shifts in literary taste, as well as different social and political
concerns. Many authors began to write stories that contained strong Gothic elements, but
that were set in England as a way to call attention to the possibility of dark and dangerous
situations existing within English society. While an interest in supernatural figures such as
ghosts and vampires continued, in the aftermath of Darwin's theories of evolution, people
were also worried about ideas of criminality, hereditary insanity, and stories in which
quests for scientific discovery led to warped or dangerous villains.
Wilde's short story picks up on elements of the Victorian Gothic as well as harkening back
to an earlier Gothic tradition, and uses parody to make political and social critiques.
Originally, the Gothic had functioned largely as a way for English authors and readers to
highlight the differences between their on society and what they perceived as old-fashioned
and outdated beliefs and practices in other European cultures. In Wilde's story, however,
the American Otis family functions as highly modern and rational individuals, whereas the
English characters have more old-fashioned beliefs and cling to old ways of doing things.
The ghost is shown to be naïve because he falls victim to the trick the twins play on him
and believes the imaginary specter is real. This joke also makes fun of the traditional
Gothic parody in which a human character would be the one to misinterpret a very ordinary
event as a sign of something supernatural. The ghost himself is a Gothic figure in both the
sense of the literary genre, and in the sense that he lived during a time period (the 1500s)
that would have been a typical setting for a Gothic story, but he no longer suits modern
tastes. His "audience," the Otis family, is no longer impressed or frightened by the tropes
that had satisfyingly scared others for centuries.

While much of the story seems to make fun of the Gothic, Wilde does sometimes see to be
quite sincere and serious in his use of these conventions. It eventually becomes clear that
Sir Simon is actually a tortured soul, and that Virginia's innocence and faith are what will
allow him to achieve redemption. The Gothic imagery of Sir Simon's funeral is presented
quite seriously, with the goal of encouraging a reader to feel solemn and feel pity for him,
rather than simply laughing. In 1890, only a few years after he wrote this story, Wilde
would publish The Portrait of Dorian Gray, which is considered a seminal work in
the history of Gothic literature, and part of an important movement known as the Decadent
Gothic. In "The Canterville Ghost," Wilde both uses Gothic conventions to make his
audience laugh and also explores how they might be used to convey important messages
about human nature.
The Canterville Ghost Literary Elements
Genre
Short story; gothic-comic; novella.
Setting and Context
The action takes place in Canterville Chase, an ancient manor house in
the English countryside; the action is set in the late 1880s
Narrator and Point of View
The story is narrated by a third-person omniscient narrator.
Tone and Mood
The story is told in a comic, ironic, and sometimes sarcastic tone.
However, the tone becomes more serious and sympathetic in the final
section after the ghost finally admits that he is suffering.

Protagonist and Antagonist

Virginia Otis is the protagonist of the story, although she is not initially
the central focus; Sir Simon, the Canterville Ghost, is the antagonist.
Major Conflict
The major conflict exists between the ghost, who wants to maintain his
traditional way of life, and the American family that wants to change,
update, and improve life at Canterville Chase.
Climax
The climax happens when the ghost talks to Virginia about his feelings
of sadness and pain and asks her for help.
Foreshadowing
Lord Canterville's initial warning about the presence of the ghost
foreshadows that there will be problems for the Otis family after they
move in. Virginia's distress about the bloodstain reappearing every day
foreshadows that she is more sensitive than the rest of her family, and
that she will have a closer relationship with the ghost later in the story.
Understatement
N/A.
Allusions
There are allusions throughout the story to traditional themes and
subjects in Gothic literature, such as thunderstorms, the appearance of
ghosts, suits of armor, and bloodstains. These allusions are often used by
Wilde to achieve a comical effect.
Imagery
See the separate section on Imagery.
Paradox
N/A.
Parallelism
N/A.
Metonymy and Synecdoche
N/A.
Personification
N/A.

The Canterville Ghost Links

Oscar Wilde in America 
http://www.oscarwildeinamerica.org/
A website that compiles information (including photographs, quotations, reviews,
interviews, and more) related to Oscar Wilde's two visits to America, in 1882 and 1883.

The 10 Most Popular Myths about Oscar

Wilde 
https://www.theguardian.com/books/2003/may/07/top10s.oscar.wilde
Since Oscar Wilde is such a popular and intriguing historical figure, there are many urban
legends about him and his life. This article debunks some popular but untrue claims.

The British Library: Oscar Wilde 

https://www.bl.uk/people/oscar-wilde
This webpage features a concise biography of Oscar Wilde, as well as links to articles about
some of his major literary works and artifacts from the British Library collection.
The Victorian Supernatural 
https://www.bl.uk/romantics-and-victorians/articles/the-victorian-supernatural
This short article discusses some of the historical and cultural reasons why the Victorian era
experienced increased interest in supernatural phenomena, including ghosts.

Ghost Stories: Why the Victorians were so

Spookily Good at them 
https://www.theguardian.com/books/2013/dec/23/ghost-stories-victorians-spookily-
good
Article from The Guardian newspaper discussing the rise of the figure of the ghost in
Victorian literature.

The Canterville Ghost Essay Questions

1. 1
Is the ghost a sympathetic character? Why or why not?
At first, the ghost seems to be vain, egotistical, and focused on
annoying (and even torturing) people around him. He is also a
murderer who never expresses any remorse for his crime; in
fact, he gets defensive when Virginia asks about the murder,
claiming that he was justified in killing his wife because she
was unattractive and a bad cook. However, the ghost's sadness
and despair after he gives up on frightening the Otis family is
potentially sympathetic. Scaring people was his talent and his
life's work, and without a receptive audience, he has nothing to
do. When he tells Virginia about how exhausted he is, and how
much he longs to rest and be at peace, most readers will likely
find him sympathetic. Virginia clearly does, because she agrees
to help him—and, significantly, after she returns, she always
speaks very affectionately of Sir Simon.
2. 2
Why is the ghost so drawn to Virginia?
The ghost is drawn to Virginia for precisely the same reason the
living are drawn to someone: unlike the rest of her family, she
is nice to him. At the start of the story, the rest of the Otis
 family denies that he exists at all, but Virginia believes from the
beginning. Then the family begins to mock him when they
finally acknowledge his existence. Virginia, meanwhile, is
understanding and kind, taking the trouble to get to know the
ghost and ultimately freeing him not only from his actual chains
but his metaphorical ones as well.
3. 3
What might the reader of the story be able to plausibly
infer about Wilde's view of Americans?
Wilde's view of Americans is almost as uncharitable as the Otis
family's view of ghosts. The entire relationship between the
ghost and the family can be explained by the fact that, being
American, the family does not understand the long tradition of
haunting in old English houses. This is Wilde's implied
criticism that Americans do not understand the value of old
traditions and are unwilling the change their beliefs. Wilde is
rather judgmental in his presentation of the family and seems to
find fault in the way that they can only make judgments based
on their own experiences. However, Virginia functions as a
positive representation of an American character since she
shows compassion to the ghost and is also eventually integrated
into the English aristocracy through her marriage.
4. 4
What is the symbolic significance of the marriage between
Virginia and the Duke?
The marriage between Virginia and the Duke symbolizes an
integration of American and European cultural values.
Although part of why Virginia is an attractive match is likely
because of the wealth she will bring with her, the Duke also
seems to have been in love with her for a long time. Virginia
reflects the freshness, hope and new potential of the New
World, while the Duke represents the tradition, history, and
prestige of the Old World. The prospect of them having
children together signifies the hope of a new generation that
will represent the best of both traditions.
5. 5
How does the story represent the tension between
modernity and tradition?
The Otis family represent modernity. At the time when Wilde
was writing, America had only been a nation for about a
hundred years and had a much shorter history than most
European cultures. American cultural values also tended to
favor innovation and progress, perpetually looking forward to
the future rather than reflecting on the values and traditions of
the past. Part of why the Otis family does not even initially
believe that the ghost exists is because the idea of ghosts seems
antiquated and out of touch with a modern, scientific
worldview. Whenever the ghost is causing them problems, the
Otis family tries to solve it by relying on modern consumer
products. This shows that they are not interested in tradition or
keeping things the way they have always been. Instead, they
want to change and improve things.