Ghost Stories Are Nothing New: The Psychology of Craving Fear

In Joanna Baillie’s Orra, the title character consistently asks to hear horror stories from Cathrina, her attendant. In the beginning of the play, when Orra is safe and at home the request seems reasonable, however she continues to ask for new stories even when in already terrifying situations. When Orra is safe the reader doesn’t question her request for ghost stories because it’s something we as a culture are familiar with. From horror movies, to haunted houses, to best-selling horror novels, seeking out fear is nothing new. But why is this? Why do people seek out things that only serve to terrify them? It’s simple, because, as Baillie puts it, "there is pleasure in [fear]" (Baillie 103).

The reason horror is so appealing to people is because they know they are never in any actual danger. Watching an evil spirit terrorize a family on television may make a person jump, cling to things around them and scream, but the fact is the moment the film is over, it’s over. The viewer can walk away and continue their life without worrying that a demon child secretly inhabits their living room. It’s the same thing for Orra. When she hears a ghost story the feeling of “cold blood [shooting] through every vein” (Baillie 103) isn’t really fear, its excitement. She knows that once the story is over she can go back to her life with the occasional nightmare as her only repercussion. It is only once the excitement turns to actual fear, once the imagined threat becomes real, that we see the true effects of the passion.

Before Orra has heard that she is to be confined in the abandoned castle until she agrees to marry Glottenbal, there is still evidence that her excitement is beginning to shift into fear. Alice makes Cathrina stop her story of Orra’s ancestor murdering a hunter because of the increased effect it seems to be having on Orra. When confronted she states that, “[her] mind of late has strange impressions ta’en,” and she doesn’t know why (Baillie 105). At this point it should be too early for Orra to have had any real fear affecting her. She is still secure with her ladies and Theobald, who see seems to like, however, she states that lately her fear is manifesting itself in a way she is not used to. Consequently a few lines later Urston enters and explains to Orra that there has been talk of sending her away, the first sign that the stories she has heard may actually present themselves as a threat to her.

Orra seems to exist in a world much like our own. People discuss ghosts and fairies and other supernatural events as if they could be real, however, no actual proof exists and for that reason they do not live in perpetual fear of the supernatural. Occasionally people will share a story of some unexplained event that has happened to them and those listening will look over their shoulder a few more times than necessary walking home, but that is the extent of the threat. Rudigere represents a very real threat to Orra. He is a man who has expressed obvious interest in her, with no intention of backing off. He is the reason she has been exiled in the first place and she is essentially powerless against him. She can push him away as much as she wants, but he is in charge of her security at the castle so the moment he decides to get what he wants through force, he potentially could. Orra is aware of this on some level and isn’t sure how to handle a situation where she is caught between physical and intangible supernatural threats. This complicates the situation because she has no one to turn to for comfort as the person who is meant to be protecting her has proven that he can’t be trusted with her body.

The appearance of Theobald is what eventually drives Orra to lose her mind because he represents what she knows to be impossible coming to life before her eyes. In the same way that someone watching The Ring would lose all sense of pleasure should the little girl crawl out of their own television, Orra is witnessing what appears to be an actual supernatural event come to life. When Cathrina told her about the legend of the hunter, Orra was in a position where it where a ghost coming for her was still an impossibility. Now, the situation has changed, she’s in the situation Cathrina’s ghost story described, and she is under the real influence caused by her fear of Rudigere. The combination of physical and psychological fear has left her in an extremely vulnerable position and the appearance of Theobald is just what she needs to be driven over the edge. She now knows from Catherina that spirits are real and she knows from Rudigere that her body is in danger, now she has a what she believes to be a supernatural force with the ability to kill physical body. This is when the fear becomes too much. The shift from imagined dangers to real ones is not pleasurable and it leads to Orra experiencing a fear she can no longer cope with. 

For another paper on Orra and fear, click here. You'll need to go to page 289 to access the particular article on Orra, this link leads to an entire book and various literary subjects.

On an only somewhat related note, while I was reading I could not stop thinking about the dream sequence in Anastasia, you know the one that makes the movie completely inappropriate for wimps like me? Check it out here if you don't mind being scared for life.

Discussion Questions:
1. When is the first time we see Orra's pleasure in her fear turn to actual horror?
2. Was what she was experiencing with Cathrina in the garden only excitement at the story or was she having a moment where she was able to foresee the actual danger coming her way? If so, what could have triggered this premonition? The increased pressure on her to marry?
2. How does the combination of Rudigere's presence and her exposure to Cathrina's stories work towards Orra's eventual insanity? Is one more important than the other?
3. How does the presence of the bandits aid in Orra's fear? She doesn't know they are there, as far as the reader knows, but they could represent a real threat. What is their purpose?