Introduction to “The Open Door” by Charlotte Riddell (1882)
Editorial Team: Daria Ausen, Teagan Kolenbrander, Natalie Reitano, Caroline Woods
Additional editing by Dr. Heidi L. Pennington
Charlotte Riddell’s “The Open Door” is a Victorian-era tale infused with angst, moral questions, and an exploration of the nature of humanity. The narration, characterization, and comments on Empire hold up a mirror to the society of the time. The account unfolds slowly in this narrative but tension builds once there is more focus on the eponymous haunting: the open door itself.
The first-person narration features Phil’s older self reflecting on memories of his younger days, and as the narrator he suggests what is going on to the audience, rather than explicitly sharing the haunting encounter. Through self-characterization and vignettes of internal dialogue and observation we learn more about the door in Ladlow Hall that does not remain shut. The stay at Ladlow Hall, a house plagued by this mystery, offers a lens through which these thematic tensions play out. Younger Phil’s skepticism is shaken as tensions rise, with moments such as “I heard my voice tremble, though I could not have said what frightened me” showing this change (Riddell). Through fear, Phil slowly starts to believe the door’s supernatural power. Phil's fixation on a door that refuses to stay closed becomes both a literal and symbolic focal point. Warnings from other characters about the supernatural occurrences at the house only serve to pique his curiosity, prompting him to defy caution and confront the unknown. This decision reflects the human compulsion to rationalize the inexplicable while simultaneously being drawn to its allure. As Phil grapples with the haunting, he also uncovers deeper familial secrets among the aristocratic family who owns Ladlow Hall, connecting his personal struggles to broader societal critiques about status and inheritance. The result is a narrative that balances Gothic unease with profound introspection, examining the intersection of the supernatural and the deeply personal.
Riddell situates her story firmly in the context of the Victorian era, a time rife with contradictions. The rise of industrialization and imperial expansion brought about both unprecedented wealth and a gnawing sense of moral uncertainty. The house itself, with its dark oak furnishings, shadowed corners, and foreboding statues reflects the anxieties of a society preoccupied with material success and family status. Riddell’s descriptions of Ladlow Hall evoke a palpable sense of unease, with its oppressive architecture and eerie silences acting as extensions of Phil’s internal conflict. As the story progresses, the house becomes increasingly sinister, its physical spaces reflecting the psychological turmoil of its inhabitant. The haunting thus becomes a symbolic reckoning with the consequences of these pursuits, whether on a societal or individual level.
Phil’s internal monologue throughout his time at the hall swings between skepticism and belief, mirroring the broader Victorian struggle to reconcile scientific rationalism with the lingering fascination with the supernatural. This tension is amplified by the recurring motif of the door, which functions as a liminal space between the known and the unknown. The door’s refusal to remain closed taunts Phil, embodying both his curiosity and his fear of crossing into forbidden realms. When telling the story Phil acknowledges the idea of skepticism and considers his own experience: “I ought to premise there was a time when I did not believe in ghosts either” (Riddell 1882). This ambiguity is central to the story’s power, as it leaves readers questioning the nature of the haunting. Is it the manifestation of a ghostly presence, or does it symbolize Phil’s psychological unraveling and the weight of his familial and societal burdens? This tension is expressed by Simon Hay in A History of the Modern British Ghost Story. When speaking about Ladlow hall he writes: “Such homes are spaces where struggles over class identity are going on throughout the transition to modernity” (Hay 8). Phil’s struggles throughout the story the nods to financial burdens. More than once he expresses that he “wanted money badly—I may say I never had sixpence in the world of my own—and I thought if I could earn two sovereigns I might buy some trifles I needed for myself, and present my father with a new umbrella” (Riddell 1882). The mentioning of the umbrella for his father evokes a desperation to help provide for his family, who have come down in the world, and gives insight into Phil’s persistence to get money.
The house and its haunting are inseparable from Phil’s narrative, suggesting that the supernatural may be less about external forces and more about the projections of human guilt and fear. At its heart, “The Open Door” is as much a critique of societal norms as it is a ghost story, with moments that show anxiety about class and status, such as: “'Did you not, sir?—my lord, I mean,' I stammered.” (Riddell 1882). This concern about how to address Lord Ladlow is a distinctive way of telling that there is a tension between the classes, wanting to be polite and not address them disrespectfully. Phil’s claim that “I stammered” emphasizes his mistake and his worry. The rigid hierarchies of Victorian society are subtly interrogated through Phil’s interactions and observations like this one. The fear of instability—whether economic, social, or moral—pervades the narrative, with the haunting acting as a symbolic rupture of the established order. Riddell’s depiction of the Ladlow family dynamics and the secrets that haunt them further underscores this theme, connecting personal traumas to the larger societal structures that perpetuate them. The story’s subtle engagement with empire and wealth is particularly significant, as it suggests that the haunting may stem not from supernatural forces but from the unresolved consequences of exploitation and greed.
In the story, Ladlow Hall contains a door that remains open, no matter what. Despite multiple attempts, including locks, nails, and bolts, to ensure the door remains closed, it still opens, leading many to deem the house as “haunted”. This serves a dual purpose in the short story, acting as a physical space allegedly plagued with a ghost, and a representation of the broader hierarchical system that entraps its occupants. Phil’s personal experience with the estate is arguably a critique of society, where individuals often struggle with societal expectations, as the house, a place that should provide a sense of belonging and security, evolves into an oppressive, tension-inducing arena. He describes the hall as surprisingly impressive compared to the drab outdoors, in a state of amazed shock as to why anyone would disregard the magnificent residence. However, Phil also feels inadequate in the mansion, so foreign and out of reach to him, as his strong desire to solve the mystery also contains a yearning for societal acceptance. Riddell effectively conveys how the concept of home, a comforting space, can be dismantled to expose concealed tensions and fears, such as the suppressed angst the protagonist encounters with his family and society. Furthermore, the ghost inhabiting Ladlow functions as a portrayal of unresolved and suppressed issues. In Phil’s society, troublesome realities, such as his financial affairs and feelings of inadequacy, are swept under the rug, just as Ladlow Hall hides its happenings in dark corridors and vast hallways. Ultimately, the fact that the door in Ladlow remains constantly open illustrates how such hidden realities are never truly closed off, but rather they always make themselves known, demanding acknowledgment and resolution. It’s important to note that these concepts are true in modern times, and present in horror media of today; the idea of disregarding mental struggles and societal angst will only plague individuals and societies as a whole, “haunting” them due to the lack of recognition and resolution.
Phil’s growing obsession with the door also highlights the story’s commentary on human curiosity and its potentially destructive consequences. The door’s uncanny behavior—the way it seems to open on its own—becomes a metaphor for the tension between restraint and the desire to know. This conflict is not unique to Phil but reflects broader human tendencies to push boundaries, even when doing so may lead to danger or destruction. In this way, the haunting is as much about Phil’s internal struggles as it is about any external force. His defiance of warnings and his compulsion to investigate the door mirror the Victorian fascination with uncovering secrets, whether scientific, spiritual, or personal.
The story’s climax, centered on Phil’s confrontation with the door and the human agent who wishes to prevent him from learning its secret, brings these themes to a head. As Phil attempts to assert control over the door and its haunting, the narrative crescendos into a moment of heightened ambiguity. The Gothic elements of the story—its oppressive atmosphere, its eerie silences, and its interplay of light and shadow—reach their peak, leaving both Phil and the reader in a state of uncertainty. This unresolved tension is what gives “The Open Door” its lasting impact, as it resists offering clear answers. Instead, Riddell invites readers to engage with the story’s mysteries and draw their own conclusions about the nature of the haunting. As Hay describes it, “the ghost [in haunted narratives] is something that comes back, the residue of some traumatic event that has not been dealt with and that therefore returns, the way trauma always does” (Hay 5). The uncertainty at the end of “The Open Door” only heightens the reader’s continuing curiosity.
One of the most intriguing aspects of “The Open Door” is its modern resonance. The story’s exploration of guilt, trauma, and the limits of rationality speaks to contemporary anxieties about the unknown and the unseen. In particular, the tension between belief and skepticism remains a central theme in modern horror media, from films and novels to urban legends and internet folklore. Riddell’s blending of psychological and supernatural elements is echoed in countless works that seek to unsettle audiences by blurring the line between reality and illusion. The enduring appeal of “The Open Door” lies in its ability to evoke this sense of unease, challenging readers to question their assumptions about what is real and what is imagined. This concept is prominent in modern times, as suppressed angst will inevitably lead to an individual being “haunted”, plagued with anxieties constructed in their mind, whether stemming from individual, familial, or societal struggles.
Ultimately, Riddell’s “The Open Door” effectively constructs a harsh critique of the ever present angst and anxieties that plague Victorian society, and challenges the limits of human understanding in regards to the unknown. By utilizing as the main character a high-status individual who has lost his financial resources—Phil—Riddell intertwines individual struggles in a rigid social system with unresolved and mysterious reasons for the haunting, calling attention to the jarring and intricate relationship between logical reasoning and irrational beliefs, and how repressed fears and anxieties can lead to such illogical faith. “The Open Door” endures as a haunting exploration of human curiosity, guilt, and the boundaries between the known and the unknown. Through her skillful blending of Gothic elements and psychological depth, Riddell creates a narrative that is both deeply personal and profoundly reflective of its time. By posing the question of whether the haunting is a ghostly reality or a projection of guilt, she challenges readers to confront their own interpretations of the story and its themes. Through its layered narrative and enduring questions, “The Open Door” continues to captivate, offering a window into both the Victorian psyche and the timeless mysteries of human experience.
