Gothic ction

Gothic literature redirects here. It may also refer

to texts in the extinct Gothic language. For ction
associated with the goth scene, see Goth subculture
Books and magazines.

Gothic ction, which is largely known by the subgenre

of Gothic horror, is a genre or mode of literature and
lm that combines ction and horror, death, and at times
romance. Its origin is attributed to English author Horace
Walpole, with his 1764 novel The Castle of Otranto, sub-
titled (in its second edition) A Gothic Story. The ef-
fect of Gothic ction feeds on a pleasing sort of terror,
an extension of Romantic literary pleasures that were rel-
atively new at the time of Walpoles novel. It originated
in England in the second half of the 18th century and had
much success in the 19th, as witnessed by Mary Shelleys
Frankenstein and the works of Edgar Allan Poe. An-
other well known novel in this genre, dating from the
late Victorian era, is Bram Stokers Dracula. The name
Gothic refers to the (pseudo)-medieval buildings, emulat-
ing Gothic architecture, in which many of these stories
take place. This extreme form of romanticism was very
popular in England and Germany. The English Gothic
novel also led to new novel types such as the German
Schauerroman and the French Georgia.

1 Early Gothic romances The Castle of Otranto (1764) is usually regarded as the rst
Gothic novel.

The novel usually regarded as the rst Gothic novel is

Horace Walpoles The Castle of Otranto, rst published
in 1764. Horace Walpoles declared aim was to com-
bine elements of the medieval romance, which he deemed
too fanciful, and the modern novel, which he consid-
ered to be too conned to strict realism.[1] The basic plot
created many other staple Gothic generic traits, includ-
ing a threatening mystery and an ancestral curse, as well
as countless trappings such as hidden passages and oft-
fainting heroines. Walpole published the rst edition dis-
guised as a medieval romance from Italy discovered and
republished by a ctitious translator. When Walpole ad-
mitted to his authorship in the second edition, its origi-
nally favourable reception by literary reviewers changed
into rejection. The reviewers rejection reected a larger
cultural bias: the romance was usually held in contempt
by the educated as a tawdry and debased kind of writing;
the genre had gained some respectability only through the
works of Samuel Richardson and Henry Fielding.[2] A
romance with superstitious elements, and moreover void
of didactical intention, was considered a setback and not
acceptable. Walpoles forgery, together with the blend
of history and ction, contravened the principles of the
Enlightenment and associated the Gothic novel with fake
documentation.
1.1 Clara Reeve
Clara Reeve, best known for her work The Old English
Baron (1778), set out to take Walpoles plot and adapt
it to the demands of the time by balancing fantastic ele-
ments with 18th-century realism. The question now arose
whether supernatural events that were not as evidently ab-
surd as Walpoles would not lead the simpler minds to be-
lieve them possible.[3]

1
2 3 GERMANY

1.2 Ann Radclie thought of his like this. Sade critiqued the genre in the
preface of his Reections on the novel (1800) stating that
Ann Radclie developed the technique of the explained the Gothic is the inevitable product of the revolution-
supernatural in which every seemingly supernatural in- ary shock with which the whole of Europe resounded.
trusion is eventually traced back to natural causes.[4] Her Contemporary critics of the genre also noted the corre-
success attracted many imitators.[5] Among other ele- lation between the French revolutionary Terror and the
ments, Ann Radclie introduced the brooding gure of terrorist school of writing represented by Radclie and
the Gothic villain (A Sicilian Romance in 1790), a literary Lewis.[9] Sade considered The Monk to be superior to the
device that would come to be dened as the Byronic hero. work of Ann Radclie.
Radclies novels, above all The Mysteries of Udolpho
(1794), were best-sellers. However, along with most nov-
els at the time, they were looked down upon by many well-
educated people as sensationalist nonsense. 3 Germany
Radclie also provided an aesthetic for the genre in an
inuential article On the Supernatural in Poetry,[6] ex- German gothic ction is usually described by the term
amining the distinction and correlation between horror Schauerroman (shudder novel). However, genres of
and terror in Gothic ction.[7] Gespensterroman/Geisterroman (ghost novel), Ru-
berroman (robber novel), and Ritterroman (chivalry
novel) also frequently share plot and motifs with the
British gothic novel. As its name suggests, the Ru-
2 Developments in continental Eu- berroman focuses on the life and deeds of outlaws, in-
uenced by Friedrich von Schiller's drama The Robbers
rope and The Monk (1781). Heinrich Zschokke's Abllino, der grosse Ban-
dit (1793) was translated into English by M.G. Lewis as
Romantic literary movements developed in continental The Bravo of Venice in 1804. The Ritterroman focuses
Europe concurrent with the development of the Gothic on the life and deeds of the knights and soldiers, but fea-
novel. The roman noir (black novel) appeared in tures many elements found in the gothic novel, such as
France, by such writers as Franois Guillaume Ducray- magic, secret tribunals, and medieval setting. Benedikte
Duminil, Baculard d'Arnaud and Madame de Genlis. In Nauberts novel Hermann of Unna (1788) is seen as being
Germany, the Schauerroman (shudder novel) gained very close to the Schauerroman genre.[10]
traction with writers as Friedrich Schiller, with novels like While the term Schauerroman is sometimes equated
The Ghost-Seer (1789), and Christian Heinrich Spiess, with the term Gothic novel, this is only partially true.
with novels like Das Petermnnchen (1791/92). These Both genres are based on the terrifying side of the Mid-
works were often more horric and violent than the En- dle Ages, and both frequently feature the same elements
glish Gothic novel. (castles, ghost, monster, etc.). However, Schauerromans
Matthew Gregory Lewis's lurid tale of monastic debauch- key elements are necromancy and secret societies and it
ery, black magic and diabolism entitled The Monk (1796) is remarkably more pessimistic than the British Gothic
oered the rst continental novel to follow the conven- novel. All those elements are the basis for Friedrich
tions of the Gothic novel. Though Lewiss novel could von Schillers unnished novel The Ghost-Seer (1786
be read as a pastiche of the emerging genre, self-parody 1789). The motive of secret societies is also present
that had been a constituent part of the Gothic from the in the Karl Grosses Horrid Mysteries (17911794) and
time of the genres inception with Walpoles Otranto. Christian August Vulpius's Rinaldo Rinaldini, the Robber
Lewiss portrayal of depraved monks, sadistic inquisi- Captain (1797).[11]
tors and spectral nuns, and by his scurrilous view of the Other early authors and works included Christian Hein-
Catholic Church, appalled some readers, but The Monk rich Spiess, with his works Das Petermnnchen (1793),
was important in the genres development. Der alte berall and Nirgends (1792), Die Lwenrit-
The Monk also inuenced Ann Radclie in her last novel, ter (1794), and Hans Heiling, vierter und letzter Re-
The Italian (1797). In this book, the hapless protago- gent der Erd- Luft- Feuer- und Wasser-Geister (1798);
nists are ensnared in a web of deceit by a malignant monk Heinrich von Kleist's short story Das Bettelweib von
called Schedoni and eventually dragged before the tri- Locarno (1797); and Ludwig Tieck's Der blonde Eck-
bunals of the Inquisition in Rome, leading one contem- bert (1797) and Der Runenberg (1804).[12] Early exam-
porary to remark that if Radclie wished to transcend ples of female-authored Gothic include Sophie Albrechts
the horror of these scenes, she would have to visit hell Das hiche Gespenst (1797) and Graumnnchen oder
itself.[8] die Burg Rabenbhl: eine Geistergeschichte altteutschen
The Marquis de Sade used a subgothic framework for Ursprungs (1799).[13]
some of his ction, notably The Misfortunes of Virtue and During the next two decades, the most famous author
Eugenie de Franval, though the Marquis himself never of Gothic literature in Germany was polymath E. T. A.
 3

Homann. His novel The Devils Elixirs (1815) was in- gothic genre: Meshchevskiys Lila, Katenins Olga,
uenced by Lewiss novel The Monk, and even mentions Pushkhins The Bridegroom, Pletnevs The Gravedig-
it during the book. The novel also explores the motive ger and Lermontovs Demon.[21]
of doppelgnger, the term coined by another German au- The other authors from the romanticism era in-
thor (and supporter of Homann), Jean Paul in his hu- clude: Antony Pogorelsky (penname of Alexey Alexeye-
morous novel Siebenks (17961797). He also wrote vich Perovsky), Orest Somov, Oleksa Storozhenko,[22]
an opera based on the Friedrich de la Motte Fouqu's Alexandr Pushkin, Nikolai Alekseevich Polevoy, Mikhail
Gothic story Undine, with de la Motte Fouqu himself Lermontov (his work Stuss) and Alexander Bestuzhev-
writing the libretto.[14] Aside from Homann and de la
Marlinsky.[23] Pushkin is particularly important, as his
Motte Fouqu, three other important authors from the short story "The Queen of Spades" (1833) was adapted
era were Joseph Freiherr von Eichendor (The Mar-
into operas and movies by both Russian and foreign
ble Statue, 1819), Ludwig Achim von Arnim (Die Ma- artists. Some parts of Mikhail Yuryevich Lermontovs
joratsherren, 1819), and Adelbert von Chamisso (Peter
"A Hero of Our Time" (1840) are also considered to be-
Schlemihls wundersame Geschichte, 1814).[15] long in the gothic genre, but they lack the supernatural
After them, Wilhelm Meinhold wrote The Amber Witch elements of the other Russian gothic stories.
(1838) and Sidonia von Bork (1847). Also writing
in the German language, Jeremias Gotthelf wrote The
Black Spider (1842), an allegorical work that used Gothic
themes. The last work from German writer Theodor
Storm, The Rider on the White Horse (1888), also uses
Gothic motives and themes.[16] In the beginning of the
20th century, many German authors wrote works in-
uenced by Schauerroman, including Hanns Heinz Ew-
ers.[17]

4 Russian Empire

Russian Gothic was not, until recently, viewed as a

critical label by Russian critics. If used, the word
gothic was used to describe (mostly early) works of
Fyodor Dostoyevsky. Most critics simply used the tags
such as Romanticism and fantastique. Even in rel-
atively new story collection translated as Russian 19th-
Century Gothic Tales (from 1984), the editor used the
name
(The Fantastic World of Russian Romanticism
Short Story/Novella).[18] However, since the mid-1980s,
Russian gothic ction was discussed in books like The
Gothic-Fantastic in Nineteenth-Century Russian Litera-
ture, European Gothic: A Spirited Exchange 17601960,
The Russian Gothic novel and its British antecedents and
Goticheskiy roman v Rossii (Gothic Novel in Russia).
The rst Russian author whose work can be described as Viy, lord of the underworld, from the story of the same name by
gothic ction is considered to be Nikolay Mikhailovich Gogol
Karamzin. Although many of his works feature gothic el-
ements, the rst one which is considered to belong purely The key author of the transition from romanticism to re-
in the gothic ction label is Ostrov Borngolm (Island of alism, Nikolai Vasilievich Gogol, is also one of the most
Bornholm) from 1793.[19] The next important early Rus- important authors of the romanticism, and has produced
sian author is Nikolay Ivanovich Gnedich with his novel a number of works which qualify as gothic ction. His
Don Corrado de Gerrera from 1803, which is set in Spain works include three short story collections, of which each
during the reign of Philip II.[20] one features a number of stories in the gothic genre, as
The term gothic is sometimes also used to describe well as many stories with gothic elements. The collec-
the ballads of Vasily Andreyevich Zhukovsky (particu- tions are: Evenings on a Farm Near Dikanka (1831
larly Ludmila (1808) and Svetlana (1813)). Also, 1832) with the stories "St Johns Eve" and "A Terrible
the following poems are considered to belong in the Vengeance"; Arabesques (1835), with the story "The Por-
4 5 THE ROMANTICS

trait"; and Mirgorod (1835), with the story "Viy". The

last story is probably the most famous, having inspired at
least eight movie adaptations (two of which are now con-
sidered to be lost), one animated movie, two documen-
taries, and a video game. Gogols work is very dierent
from western European gothic ction, as he is inuenced
by Ukrainian folklore, Cossack lifestyle and, being a very
religious man, Orthodox Christianity.[24][25]
Other authors of Gogols era included Vladimir Fyodor-
ovich Odoevsky (The Living Corpse, written 1838, pub-
lished 1844; The Ghost; The Sylphide; and other stories),
Count Aleksey Konstantinovich Tolstoy (The Family of
the Vourdalak, 1839, and The Vampire, 1841), Mikhail
Zagoskin (Unexpected Guests), Jzef Skowski/Osip
Senkovsky (Antar), and Yevgeny Baratynsky (The
Ring).[23]
After Gogol, the Russian literature saw the rise of the
realism, but many authors wrote stories belonging to
the gothic ction territory. Ivan Sergeyevich Turgenev,
one of the worlds most celebrated realists, wrote Faust
(1856), Phantoms (1864), Song of the Triumphant Love
(1881), and Clara Milich (1883). Another Russian realist
classic, Fyodor Mikhailovich Dostoyevsky, incorporated
gothic elements in many of his works, although none of Mary Shelley's Frankenstein; or, the Modern Prometheus
his novels are seen as purely gothic.[26] Grigory Petro- (1818) has come to dene Gothic ction in the Romantic period.
Frontispiece to 1831 edition shown.
vich Danilevsky, who wrote historical and early science
ction novels and stories, wrote Mertvec-ubiytsa (Dead
Murderer) in 1879. Also, Grigori Alexandrovich Machtet
wrote the story Zaklyatiy kazak.[27] Bysshe Shelley's rst published work was the Gothic
novel Zastrozzi (1810), about an outlaw obsessed with re-
During the last years of the Russian Empire, in the early
venge against his father and half-brother. Shelley pub-
20th century, many authors continued to write in the
lished a second Gothic novel in 1811, St. Irvyne; or, The
gothic ction genre. These include historian and histor-
Rosicrucian, about an alchemist who seeks to impart the
ical ction writer Alexander Valentinovich Amteatrov;
secret of immortality.
Leonid Nikolaievich Andreyev, who developed psycho-
logical characterization; symbolist Valery Yakovlevich The poetry, romantic adventures, and character of Lord
Bryusov; Alexander Grin; Anton Pavlovich Chekhov;[28] Byron characterised by his spurned lover Lady Caroline
and Aleksandr Ivanovich Kuprin.[27] Nobel Prize winner Lamb as mad, bad and dangerous to know were an-
Ivan Alekseyevich Bunin wrote Dry Valley (1912), which other inspiration for the Gothic, providing the archetype
is considered to be inuenced by gothic literature.[29] In of the Byronic hero. Byron features, under the codename
her monograph on the subject, Muireann Maguire writes, of "Lord Ruthven", in Lady Carolines own Gothic novel:
The centrality of the Gothic-fantastic to Russian ction Glenarvon (1816).
is almost impossible to exaggerate, and certainly excep- Byron was also the host of the celebrated ghost-story
tional in the context of world literature.[30] competition involving himself, Percy Bysshe Shelley,
Mary Shelley, and John William Polidori at the Villa
Diodati on the banks of Lake Geneva in the summer of
1816. This occasion was productive of both Mary Shel-
5 The Romantics leys Frankenstein (1818) and Polidoris The Vampyre
(1819). This latter story revives Lambs Byronic Lord
Further contributions to the Gothic genre were seen in Ruthven, but this time as a vampire. The Vampyre has
the work of the Romantic poets. Prominent examples in- been accounted by cultural critic Christopher Frayling
clude Samuel Taylor Coleridge's The Rime of the Ancient as one of the most inuential works of ction ever writ-
Mariner and Christabel as well as John Keats' La Belle ten and spawned a craze for vampire ction and theatre
Dame sans Merci (1819) and Isabella, or the Pot of Basil (and latterly lm) which has not ceased to this day.[32]
(1820) which feature mysteriously fey ladies.[31] In the Mary Shelleys novel, though clearly inuenced by the
latter poem the names of the characters, the dream vi- Gothic tradition, is often considered the rst science c-
sions and the macabre physical details are inuenced by tion novel, despite the omission in the novel of any scien-
the novels of premiere Gothicist Ann Radclie.[31] Percy tic explanation of the monsters animation and the focus
 5

instead on the moral issues and consequences of such a An important and innovative reinterpreter of the Gothic
creation. in this period was Edgar Allan Poe. Poe focused less on
A late example of traditional Gothic is Melmoth the Wan- the traditional elements of gothic stories and more on the
derer (1820) by Charles Maturin, which combines themes psychology of his characters as they often descended into
of anti-Catholicism with an outcast Byronic hero. [33] madness. Poes critics complained about his German
tales, to which he replied, 'that terror is not of Germany,
but of the soul'. Poe, a critic himself, believed that terror
was a legitimate literary subject. His story "The Fall of
6 Victorian Gothic the House of Usher" (1839) explores these 'terrors of the
soul' while revisiting classic Gothic tropes of aristocratic
decay, death, and madness.[35] The legendary villainy of
the Spanish Inquisition, previously explored by Gothicists
Radclie, Lewis, and Maturin, is based on a true account
of a survivor in "The Pit and the Pendulum" (1842). The
inuence of Ann Radclie is also detectable in Poes "The
Oval Portrait" (1842), including an honorary mention of
her name in the text of the story.
The inuence of Byronic Romanticism evident in Poe is
also apparent in the work of the Bront sisters. Emily
Bront's Wuthering Heights (1847) transports the Gothic
to the forbidding Yorkshire Moors and features ghostly
apparitions and a Byronic hero in the person of the de-
monic Heathcli. The Bronts ction is seen by some
feminist critics as prime examples of Female Gothic, ex-
ploring womans entrapment within domestic space and
subjection to patriarchal authority and the transgressive
and dangerous attempts to subvert and escape such re-
striction. Emilys Cathy and Charlotte Bront's Jane
Eyre are both examples of female protagonists in such
a role.[36] Louisa May Alcott's Gothic potboiler, A Long
Fatal Love Chase (written in 1866, but published in 1995)
is also an interesting specimen of this subgenre.
Elizabeth Gaskell's tales The Doom of the Griths
Edgar Allan Poe was an important reinterpreter of Gothic ction.
(1858) Lois the Witch, and The Grey Woman all em-
ploy one of the most common themes of Gothic ction,
By the Victorian era, Gothic had ceased to be the dom- the power of ancestral sins to curse future generations, or
inant genre, and was dismissed by most critics. (In- the fear that they will.
deed, the forms popularity as an established genre had
already begun to erode with the success of the histor- The gloomy villain, forbidding mansion, and persecuted
ical romance popularised by Sir Walter Scott.) How- heroine of Sheridan Le Fanu's Uncle Silas (1864) shows
ever, in many ways, it was now entering its most creative the direct inuence of both Walpoles Otranto and Rad-
phase. Recently readers and critics have begun to recon- clies Udolpho. Le Fanus short story collection In a
sider a number of previously overlooked Penny Blood or Glass Darkly (1872) includes the superlative vampire tale
Penny Dreadful serial ctions by such authors as G.W.M. Carmilla, which provided fresh blood for that particu-
Reynolds who wrote a trilogy of Gothic horror novels: lar strand of the Gothic and inuenced Bram Stoker's
Faust (1846), Wagner the Wehr-wolf (1847) and The vampire novel Dracula (1897). According to literary
Necromancer (1857).[34] Reynolds was also responsible critic Terry Eagleton, Le Fanu, together with his pre-
for The Mysteries of London which has been accorded an decessor Maturin and his successor Stoker, form a sub-
important place in the development of the urban as a par- genre of Irish Gothic, whose stories, featuring castles set
ticularly Victorian Gothic setting, an area within which in a barren landscape, with a cast of remote aristocrats
interesting links can be made with established readings of dominating an atavistic peasantry, represent in allegori-
the work of Dickens and others. Another famous penny cal form the political plight of[37]colonial Ireland subjected
dreadful of this era was the anonymously authored Varney to the Protestant Ascendancy.
the Vampire (1847). The formal relationship between The genre was also a heavy inuence on more mainstream
these ctions, serialised for predominantly working class writers, such as Charles Dickens, who read Gothic nov-
audiences, and the roughly contemporaneous sensation els as a teenager and incorporated their gloomy atmo-
ctions serialised in middle class periodicals is also an sphere and melodrama into his own works, shifting them
area worthy of inquiry.
6 7 PRECURSORS TO THE GOTHIC

to a more modern period and an urban setting, includ-
ing Oliver Twist (18378), Bleak House (1854) (Mighall
2003) and Great Expectations (186061). These pointed
to the juxtaposition of wealthy, ordered and auent civil-
isation next to the disorder and barbarity of the poor
within the same metropolis. Bleak House in particular
is credited with seeing the introduction of urban fog to
the novel, which would become a frequent characteristic
of urban Gothic literature and lm (Mighall 2007). His
most explicitly Gothic work is his last novel, The Mystery
of Edwin Drood, which he did not live to complete and
which was published in unnished state upon his death in
1870. The mood and themes of the Gothic novel held a
particular fascination for the Victorians, with their mor-
bid obsession with mourning rituals, mementos, and mor-
tality in general.
bers, though, indulged in the decadent style of Wilde and
Machen, even to the extent of his inclusion of a character
named 'Wilde' in his The King in Yellow.
7 Precursors to the Gothic
The conventions of Gothic literature did not spring from
nowhere into the mind of Horace Walpole. The compo-
nents that would eventually combine into Gothic litera-
ture had a rich history by the time Walpole perpetrated
his literary hoax in 1764.
7.1 The Mysterious Imagination

Gothic literature is often described with words such as

wonder and terror.[40] This sense of wonder and ter-
ror, which provides the suspension of disbelief so impor-
tant to the Gothicwhich, except for when it is parodied,
even for all its occasional melodrama, is typically played
straight, in a self-serious mannerrequires the imagina-
tion of the reader to be willing to accept the idea that there
might be something beyond that which is immediately in
front of us. The mysterious imagination necessary for
Gothic literature to have gained any traction had been
growing for some time before the advent of the Gothic.
The necessity for this came as the known world was be-
ginning to become more explored, reducing the inherent
Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde
geographical mysteries of the world. The edges of the
(1886) was a classic Gothic work of the 1880s, seeing many stage map were being lled in, and no one was nding any drag-
adaptations. ons. The human mind required a replacement.[41] Clive
Bloom theorizes that this void in the collective imagina-
The 1880s saw the revival of the Gothic as a powerful lit- tion was critical in the development of the cultural possi-
erary form allied to n de siecle, which ctionalized con- bility for the rise of the Gothic tradition.[42]
temporary fears like ethical degeneration and questioned
the social structures of the time. Classic works of this
Urban Gothic include Robert Louis Stevenson's Strange 7.2 Medievalism
Case of Dr Jekyll and Mr Hyde (1886), Oscar Wilde's
The Picture of Dorian Gray (1891), George du Maurier's The setting of most early Gothic works was a medieval
Trilby (1894), Richard Marsh's The Beetle: A Mystery one, but this had been a common theme long before
(1897), Henry James' The Turn of the Screw (1898), and Walpole. In Britain especially, there was a desire to re-
the stories of Arthur Machen. Some of the works of claim a shared past. This obsession frequently led to
Canadian writer Gilbert Parker also fall into the genre, extravagant architectural displays, and sometimes mock
including the stories in The Lane that Had No Turning tournaments were held. It was not merely in literature
(1900).[38] that a medieval revival made itself felt, and this too con-
tributed to a culture ready to accept a perceived medieval
The most famous Gothic villain ever, Count Dracula,
work in 1764.[41]
was created by Bram Stoker in his novel Dracula (1897).
Stokers book also established Transylvania and Eastern
Europe as the locus classicus of the Gothic.[39] Gaston 7.3 The Macabre and the Morbid
Leroux's serialized novel The Phantom of the Opera
(19091910) is another well-known example of gothic The Gothic often uses scenery of decay, death, and
ction from the early twentieth century. morbidity to achieve its eects (especially in the Ital-
In America, two notable writers of the end of the 19th ian Horror school of Gothic). However, Gothic litera-
century, in the Gothic tradition, were Ambrose Bierce ture was not the origin of this tradition; indeed it was far
and Robert W. Chambers. Bierces short stories were older. The corpses, skeletons, and churchyards so com-
in the horric and pessimistic tradition of Poe. Cham- monly associated with the early Gothic were popularized
 7

by the Graveyard Poets, and were also present in nov-

Wilkinson, a fatuous female protagonist with a history of
els such as Daniel Defoes Journal of the Plague Year,
novel-reading, fancies herself as the heroine of a Gothic
which contains comical scenes of plague carts and piles of
romance. She perceives and models reality according to
plague corpses. Even earlier, poets like Edmund Spenser
the stereotypes and typical plot structures of the Gothic
evoked a dreary and sorrowful mood in such poems as
novel, leading to a series of absurd events culminating in
Epithalamion.[41] catastrophe. After her downfall, her aectations and ex-
cessive imaginations become eventually subdued by the
voice of reason in the form of Stuart, a paternal gure,
7.4 An Emotional Aesthetic to Tie it To- under whose guidance the protagonist receives a sound
gether education and correction of her misguided taste[47]

All of the aspects of pre-Gothic literature mentioned

above occur to some degree in the Gothic, but even taken 9 Post-Victorian legacy
together, they still fall short of true Gothic.[41] What was
lacking was an aesthetic, which would serve to tie the ele-
ments together. Bloom notes that this aesthetic must take 9.1 Pulp
the form of a theoretical or philosophical core, which is
necessary to sav[e] the best tales from becoming mere
anecdote or incoherent sensationalism.[43] In this partic-
ular case, the aesthetic needed to be an emotional one,
which was nally provided by Edmund Burkes 1757
work, A Philosophical Enquiry into the Origin of Our
Ideas of the Sublime and the Beautiful, which nally
codif[ied] the gothic emotional experience.[44] Specif-
ically, Burkes thoughts on the Sublime, Terror, and Ob-
scurity were most applicable. These sections can be sum-
marized thus: the Sublime is that which is or produces
the strongest emotion which the mind is capable of feel-
ing,"; the Sublime is most often evoked by Terror; and to
cause Terror we need some amount of Obscuritywe cant
know everything about that which is inducing Terroror
else a great deal of the apprehension vanishes"; Obscu-
rity is necessary in order to experience the Terror of the
unknown.[41] Bloom asserts that Burkes descriptive vo-
cabulary was essential to the Romantic works that even-
tually informed the Gothic.

8 Parody
The excesses, stereotypes, and frequent absurdities of the
traditional Gothic made it rich territory for satire.[45] The
most famous parody of the Gothic is Jane Austen's novel
Pulp magazines such as Weird Tales reprinted and popularized
Northanger Abbey (1818) in which the naive protagonist, Gothic horror from the prior century.
after reading too much Gothic ction, conceives herself
a heroine of a Radclian romance and imagines murder Notable English twentieth-century writers in the Gothic
and villainy on every side, though the truth turns out to
tradition include Algernon Blackwood, William Hope
be much more prosaic. Jane Austens novel is valuable Hodgson, M. R. James, Hugh Walpole, and Marjorie
for including a list of early Gothic works since knownBowen. In America pulp magazines such as Weird Tales
as the Northanger Horrid Novels. These books, with reprinted classic Gothic horror tales from the previous
their lurid titles, were once thought to be the creations
century, by such authors as Poe, Arthur Conan Doyle, and
of Jane Austens imagination, though later research byEdward Bulwer-Lytton and printed new stories by mod-
Michael Sadleir and Montague Summers conrmed that ern authors featuring both traditional and new horrors.[48]
they did actually exist and stimulated renewed interest in
The most signicant of these was H. P. Lovecraft who
the Gothic. They are currently all being reprinted.[46]
also wrote an excellent conspectus of the Gothic and su-
Another example of Gothic parody in a similar vein is pernatural horror tradition in his Supernatural Horror in
The Heroine by Eaton Stannard Barrett (1813). Cherry Literature (1936) as well as developing a Mythos that
8 9
would inuence Gothic and contemporary horror well
into the 21st century. Lovecrafts protg, Robert Bloch,
contributed to Weird Tales and penned Psycho (1959),
which drew on the classic interests of the genre. From
these, the Gothic genre per se gave way to modern horror
ction, regarded by some literary critics as a branch of
the Gothic[49] although others use the term to cover the
entire genre.
9.2 New Gothic Romances
Gothic Romances of this description became popular
during the 1950s, 1960s, and 1970s, with authors such as
Phyllis A. Whitney, Joan Aiken, Dorothy Eden, Victoria
Holt, Barbara Michaels, Mary Stewart, and Jill Tattersall. Lewis The Monk.[53] The Romantic strand of Gothic was
Many featured covers depicting a terror-stricken woman
in diaphanous attire in front of a gloomy castle, often
with a single lit window. Many were published under
the Paperback Library Gothic imprint and were marketed
to a female audience. Though the authors were mostly
women, some men wrote Gothic romances under female
pseudonyms. For instance the prolic Clarissa Ross and
Marilyn Ross were pseudonyms for the male writer Dan
Ross, and Frank Belknap Long published Gothics under
his wifes name, Lyda Belknap Long. Another example
is British writer Peter O'Donnell, who wrote under the
pseudonym Madeleine Brent. Outside of companies like
Lovespell, who carry Colleen Shannon, very few books
seem to be published using the term today.
9.3 Southern Gothic
The genre also inuenced American writing to create the
Southern Gothic genre, which combines some Gothic
sensibilities (such as the grotesque) with the setting
and style of the Southern United States. Examples in-
clude William Faulkner, Eudora Welty, Truman Capote,
Flannery O'Connor, Davis Grubb, and Harper Lee.[50]
9.4 Other contemporary Gothic
Contemporary American writers in this tradition include
Joyce Carol Oates, in such novels as Belleeur and A
Bloodsmoor Romance and short story collections such as
Night-Side (Skarda 1986b) and Raymond Kennedy in his
novel Lulu Incognito.
The Southern Ontario Gothic applies a similar sensibility
to a Canadian cultural context. Robertson Davies, Alice
Munro, Barbara Gowdy, Timothy Findley and Margaret
Atwood have all produced works that are notable exem-
plars of this form.
Another writer in this tradition was Henry Farrell, whose
best-known work was the 1960 Hollywood horror novel
What Ever Happened To Baby Jane? Farrells novels
spawned a subgenre of Grande Dame Guignol in the
POST-VICTORIAN LEGACY
cinema, represented by such lms as the 1962 lm based
on Farrells novel, which starred Bette Davis versus Joan
Crawford; this subgenre of lms was dubbed the "psycho-
biddy" genre.
9.5 Modern horror
Many modern writers of horror (or indeed other types
of ction) exhibit considerable Gothic sensibilities
examples include the works of Anne Rice, Stella Coulson,
Susan Hill, Poppy Z. Brite and Neil Gaiman as well as
some of the sensationalist works of Stephen King[51][52]
Thomas M. Disch's novel The Priest (1994) was subtitled
A Gothic Romance, and was partly modelled on Matthew
taken up in Daphne du Maurier's Rebecca (1938) which is
considered by some to be in many respects a reworking of
Charlotte Bront's Jane Eyre.[54] Other books by du Mau-
rier, such as Jamaica Inn (1936), also display Gothic ten-
dencies. Du Mauriers work inspired a substantial body of
female Gothics, concerning heroines alternately swoon-
ing over or being terried by scowling Byronic men in
possession of acres of prime real estate and the apper-
taining droit du seigneur.
For modern horror associated with the goth scene, see
Goth subculture Books and magazines.
9.6 The Gothic in education
Educators in literary, cultural, and architectural studies
appreciate the Gothic as an area that facilitates the in-
vestigation of the beginnings of scientic certainty. As
Carol Senf has stated, the Gothic was [] a counter-
balance produced by writers and thinkers who felt lim-
ited by such a condent worldview and recognized that
the power of the past, the irrational, and the violent con-
tinue to hold sway in the world.[55] As such, the Gothic
helps students better understand their own doubts about
the self-assurance of todays scientists. Scotland is the lo-
cation of what was probably the worlds rst postgradu-
ate program to exclusively consider the genre: the MLitt
in the Gothic Imagination at the University of Stirling,
which rst recruited in 1996.[56]
9.7 Other media
The themes of the literary Gothic have been translated
into other media. The early 1970s saw a Gothic Ro-
mance comic book mini-trend with such titles as DC
Comics' The Dark Mansion Of Forbidden Love and
The Sinister House of Secret Love, Charlton Comics'
Haunted Love, Curtis Magazines' Gothic Tales of Love,
and Atlas/Seaboard Comics' one-shot magazine Gothic
Romances.

There was a notable revival in 20th-century Gothic horror
lms such the classic Universal Horror lms of the 1930s,
Hammer Horror, and Roger Corman's Poe cycle.[57] In
Hindi cinema, the Gothic tradition was combined with
aspects of Indian culture, particularly reincarnation, to
give rise to an Indian Gothic genre, beginning with
the lms Mahal (1949) and Madhumati (1958).[58] Mod-
ern Gothic horror lms include Sleepy Hollow, Interview
with the Vampire, Underworld, The Wolfman, From Hell,
Dorian Gray, Let The Right One In and The Woman in
Black.
The 1960s Gothic television series Dark Shadows bor-
rowed liberally from the Gothic tradition and featured
elements such as haunted mansions, vampires, witches,
doomed romances, werewolves, obsession, and madness.
The Showtime TV series Penny Dreadful brings many
classic gothic characters together in a psychological
thriller that takes place in the dark corners of Victorian
London (2014 debut).
Twentieth-century rock music also had its Gothic side.
Black Sabbath's 1970 debut album created a dark sound
dierent from other bands at the time and has been called
the rst ever Goth-rock record.[59] Themes from Gothic
writers such as H. P. Lovecraft were also used among
gothic rock and heavy metal bands, especially in black
metal, thrash metal (Metallica's The Call of Ktulu), death
metal, and gothic metal. For example, heavy metal mu-
sician King Diamond delights in telling stories full of
horror, theatricality, satanism and anti-Catholicism in his
compositions.[60]
Various video games feature Gothic horror themes and
plots. For example, the Castlevania series typically in-
volves a hero of the Belmont lineage exploring a dark,
old castle, ghting vampires, werewolves, Frankensteins
monster, and other Gothic monster staples, culminat-
ing in a battle against Dracula himself. Others, such as
Ghostsn Goblins feature a campier parody of Gothic c-
tion.
In role-playing games, the pioneering 1983 Dungeons &
Dragons adventure Ravenloft instructs the players to de-
feat the vampire Strahd von Zarovich, who pines for his
dead lover. It has been acclaimed as one of the best role-
playing adventures of all time, and even inspired an entire
ctional world of the same name.
10 Elements of Gothic ction
Virginal maiden young, beautiful, pure, innocent,
kind, virtuous and sensitive. Usually starts out with
a mysterious past and it is later revealed that she is
the daughter of an aristocratic or noble family.
Matilda in The Castle of Otranto She is de-
termined to give up Theodore, the love of her
life, for her cousins sake. Matilda always puts
9
others rst before herself, and always believes
the best in others.
Adeline in The Romance of the Forest
Her wicked Marquis, having secretly im-
mured Number One (his rst wife), has now a
new and beautiful wife, whose character, alas!
Does not bear inspection.[61] As this review
states, the virginal maiden character is above
inspection because her personality is awless.
Hers is a virtuous character whose piety and
uninching optimism cause all to fall in love
with her.
Older, foolish woman
Hippolita in The Castle of Otranto Hip-
polita is depicted as the obedient wife of her
tyrant husband who would not only acquiesce
with patience to divorce, but would obey, if
it was his pleasure, in endeavouring to per-
suade Isabelle to give him her hand.[62] This
shows how weak women are portrayed as they
are completely submissive, and in Hippolitas
case, even support polygamy at the expense of
her own marriage.[63]
Madame LaMotte in The Romance of the For-
est naively assumes that her husband is hav-
ing an aair with Adeline. Instead of address-
ing the situation directly, she foolishly lets her
ignorance turn into pettiness and mistreatment
of Adeline.
Hero
Theodore in The Castle of Otranto he is witty,
and successfully challenges the tyrant, saves
the virginal maid without expectations
Theodore in The Romance of the Forest saves
Adeline multiple times, is virtuous, coura-
geous and brave, self-sacricial
Tyrant/villain
Manfred in The Castle of Otranto unjustly
accuses Theodore of murdering Conrad. Tries
to put his blame onto others. Lies about his
motives for attempting to divorce his wife and
marry his late sons anc.
The Marquis in The Romance of the Forest
attempts to get with Adeline even though he
is already married, attempts to rape Adeline,
blackmails Monsieur LaMotte.
Vathek Ninth Caliph of the Abassides, who
ascended to the throne at an early age. His g-
ure was pleasing and majestic, but when angry,
his eyes became so terrible that the wretch
on whom it was xed instantly fell backwards
and sometimes expired. He was addicted to
10
women and pleasures of the esh, so he or-
dered ve palaces to be built: the ve palaces
of the senses. Although he was an eccentric
man, learned in the ways of science, physics,
and astrology, he loved his people. His main
greed, however, was thirst for knowledge. He
wanted to know everything. This is what led
him on the road to damnation.[64]
Bandits/ruans
They appear in several Gothic nov-
els including The Romance of the
Forest in which they kidnap Ade-
line from her father.
Clergy always weak, usually evil
Father Jerome in The Castle of Otranto
Jerome, though not evil, is certainly weak as
he gives up his son when he is born and leaves
his lover.
Ambrosio in The Monk Evil and weak, this
character stoops to the lowest levels of corrup-
tion including rape and incest.
Mother Superior in The Romance of the Forest
Adeline ed from this convent because the
sisters werent allowed to see sunlight. Highly
oppressive environment.
The setting
The plot is usually set in a cas-
tle, an abbey, a monastery, or
some other, usually religious edi-
ce, and it is acknowledged that
this building has secrets of its own.
It is this gloomy and frightening
scenery, which sets the scene for
what the audience should expect.
The importance of setting is noted
in a London review of the Cas-
tle of Otranto, He describes the
country towards Otranto as deso-
late and bare, extensive downs cov-
ered with thyme, with occasionally
the dwarf holly, the rosa marina,
and lavender, stretch around like
wild moorlandsMr. Williams
describes the celebrated Castle of
Otranto as an imposing object of
considerable sizehas a dignied
and chivalric air. A tter scene for
his romance he probably could not
have chosen. Similarly, De Vore
states, The setting is greatly inu-
ential in Gothic novels. It not only
evokes the atmosphere of horror
10 ELEMENTS OF GOTHIC FICTION
and dread, but also portrays the de-
terioration of its world. The decay-
ing, ruined scenery implies that at
one time there was a thriving world.
At one time the abbey, castle, or
landscape was something treasured
and appreciated. Now, all that lasts
is the decaying shell of a once thriv-
ing dwelling.[65] Thus, without the
decrepit backdrop to initiate the
events, the Gothic novel would not
exist.
Elements found especially in American Gothic ction in-
clude:
Night journeys are a common element seen
throughout Gothic literature. They can occur in
almost any setting, but in American literature are
more commonly seen in the wilderness, forest or any
other area that is devoid of people.
Evil characters are also seen in Gothic literature
and especially American Gothic. Depending on the
time period that the work is written about, the evil
characters could be characters like Native Ameri-
cans, trappers, gold miners etc.
American Gothic novels also tend to deal with a
"madness" in one or more of the characters and
carry that theme throughout the novel. In his novel
Edgar Huntly or Memoirs of a Sleepwalker, Charles
Brockden Brown writes about two characters who
slowly become more and more deranged as the novel
progresses.
Miraculous survivals are elements within Ameri-
can Gothic literature in which a character or charac-
ters will somehow manage to survive some feat that
should have led to their demise.
In American Gothic novels it is also typical that
one or more of the characters will have some sort
of supernatural powers. In Browns Edgar Huntly
or Memoirs of a Sleepwalker, the main character,
Huntly, is able to face and kill not one, but two
panthers.
An element of fear is another characteristic of
American Gothic literature. This is typically
connected to the unknown and is generally seen
throughout the course of the entire novel. This can
also be connected to the feeling of despair that char-
acters within the novel are overcome by. This ele-
ment can lead characters to commit heinous crimes.
In the case of Browns character Edgar Huntly, he
experiences this element when he contemplates eat-
ing himself, eats an uncooked panther, and drinks
his own sweat.
10.1 Role of architecture and setting in the Gothic novel 11

Psychological overlay is an element that is con-
nected to how characters within an American
Gothic novel are aected by things like the night and
their surroundings. An example of this would be if
a character was in a maze-like area and a connection
was made to the maze that their minds represented.
in a Gothic building served several purposes. It drew on
feelings of awe, it implied the story was set in the past, it
gave an impression of isolation or being cut o from the
rest of the world and it drew on the religious associations
of the Gothic style. This trend of using Gothic architec-
ture began with The Castle of Otranto and was to become
a major element of the genre from that point forward.[4]

10.1 Role of architecture and setting in the Besides using Gothic architecture as a setting, with the
aim of eliciting certain associations from the reader, there
Gothic novel was an equally close association between the use of set-
ting and the storylines of Gothic novels, with the archi-
tecture often serving as a mirror for the characters and
the plot lines of the story.[66] The buildings in the Cas-
tle of Otranto, for example, are riddled with underground
tunnels, which the characters use to move back and forth
in secret. This secret movement mirrors one of the plots
of the story, specically the secrets surrounding Man-
freds possession of the castle and how it came into his
family.[67] The setting of the novel in a Gothic castle was
meant to imply not only a story set in the past but one
shrouded in darkness.
In William Thomas Beckford's The History of the Caliph
Vathek, architecture was used to both illustrate certain
Strawberry Hill, an English villa in the "Gothic revival" style, built elements of Vatheks character and also warn about the
by Gothic writer Horace Walpole dangers of over-reaching. Vatheks hedonism and devo-
tion to the pursuit of pleasure are reected in the pleasure
Gothic literature is intimately associated with the Gothic wings he adds on to his castle, each with the express pur-
Revival architecture of the same era. In a way similar to pose of satisfying a dierent sense. He also builds a tall
the Gothic revivalists rejection of the clarity and ratio- tower in order to further his quest for knowledge. This
nalism of the neoclassical style of the Enlightened Estab- tower represents Vatheks pride and his desire for a power
lishment, the literary Gothic embodies an appreciation of that is beyond the reach of humans. He is later warned
the joys of extreme emotion, the thrills of fearfulness and that he must destroy the tower and return to Islam or else
awe inherent in the sublime, and a quest for atmosphere. risk dire consequences. Vatheks pride wins out and, in
The ruins of Gothic buildings gave rise to multiple linked the end, his quest for power and knowledge ends with him
emotions by representing the inevitable decay and col- conned to Hell.[68]
lapse of human creations thus the urge to add fake ru- In the Castle of Wolfenbach the castle that Matilda seeks
ins as eyecatchers in English landscape parks. English refuge at while on the run is believed to be haunted.
Gothic writers often associated medieval buildings with Matilda discovers it is not ghosts but the Countess of
what they saw as a dark and terrifying period, charac- Wolfenbach who lives on the upper oors and who has
terized by harsh laws enforced by torture, and with mys- been forced into hiding by her husband, the Count.
terious, fantastic, and superstitious rituals. In literatureMatildas discovery of the Countess and her subsequent
such Anti-Catholicism had a European dimension featur- informing others of the Countesss presence destroys the
ing Roman Catholic institutions such as the Inquisition Counts secret. Shortly after Matilda meets the Count-
(in southern European countries such as Italy and Spain). ess the Castle of Wolfenbach itself is destroyed in a re,
Just as elements of Gothic architecture were borrowed mirroring the destruction of the Counts attempts to keep
during the Gothic Revival period in architecture, ideas his wife a secret and how his plots throughout
[69]
the story
about the Gothic period and Gothic period architecture eventually lead to his own destruction.
were often used by Gothic novelists. Architecture itself The major part of the action in the Romance of the Forest
played a role in the naming of Gothic novels, with many is set in an abandoned and ruined abbey and the building
titles referring to castles or other common Gothic build- itself served as a moral lesson, as well as a major setting
ings. This naming was followed up with many Gothic for and mirror of the action in the novel. The setting of
novels often set in Gothic buildings, with the action tak- the action in a ruined abbey, drawing on Burkes aesthetic
ing place in castles, abbeys, convents and monasteries, theory of the sublime and the beautiful established the lo-
many of them in ruins, evoking feelings of fear, sur- cation as a place of terror and of safety. Burke argued
prise, connement. This setting of the novel, a castle the sublime was a source of awe or fear brought about
or religious building, often one fallen into disrepair, was by strong emotions such as terror or mental pain. On the
an essential element of the Gothic novel. Placing a story
12 10 ELEMENTS OF GOTHIC FICTION

It has been said that medieval society, on which some

Gothic texts are based, granted women writers the oppor-
tunity to attribute features of the mode [of Gothicism]
as the result of the suppression of female sexuality, or
else as a challenge to the gender hierarchy and values of
a male-dominated culture.[71]
Signicantly, with the development of the Female Gothic
came the literary technique of explaining the supernatu-
ral. The Supernatural Explained as this technique was
aptly named is a recurring plot device in Radclies The
Romance of the Forest. The novel, published in 1791, is
among Radclies earlier works. The novel sets up sus-
The picturesque and evocative ruin is a common theme in Gothic pense for horric events, which all have natural explana-
literature. This image shows the ruins of Kenilworth Castle. tions.
An eighteenth-century response to the novel from the
other end of the spectrum was the beautiful, which were Monthly Review reads: We must hear no more of en-
those things that brought pleasure and safety. Burke ar- chanted forests and castles, giants, dragons, walls of
gued that the sublime was the more preferred to the two. re and other monstrous and prodigious things; yet
Related to the concepts of the sublime and the beauti- still forests and castles remain, and it is still within the
ful is the idea of the picturesque, introduced by William province of ction, without overstepping the limits of na-
Gilpin, which was thought to exist between the two other ture, to make use of them for the purpose of creating
extremes. The picturesque was that which continued el- surprise.[72]
ements of both the sublime and the beautiful and can be Radclies use of Supernatural Explained is characteristic
thought of as a natural or uncultivated beauty, such as a of the Gothic author. The female protagonists pursued in
beautiful ruin or a partially overgrown building. In Ro- these texts are often caught in an unfamiliar and terrifying
mance of the Forest Adeline and the La Mottes live in landscape, delivering higher degrees of horror. The end
constant fear of discovery by either the police or Ade- result, however, is the explained supernatural, rather than
lines father and, at times, certain characters believe the terrors familiar to women such as rape or incest, or the
castle to be haunted. On the other hand, the abbey also expected ghosts or haunted castles.
serves as a comfort, as it provides shelter and safety to the
In Radclies The Romance of the Forest, one may follow
characters. Finally, it is picturesque, in that it was a ruin
the female protagonist, Adeline, through the forest, hid-
and serves as a combination of both the natural and the
den passages and abbey dungeons, without exclaiming,
human. By setting the story in the ruined abbey, Radclie
How these antique towers and vacant courts/ chill the sus-
was able to use architecture to draw on the aesthetic the-
pended soul, till expectation wears the cast of fear!"[72]
ories of the time and set the tone of the story in the minds
of the reader. As with many of the buildings in Gothic The decision of Female Gothic writers to supplement
novels, the abbey also has a series of tunnels. These tun- true supernatural horrors with explained cause and ef-
nels serve as both a hiding place for the characters and fect transforms romantic plots and Gothic tales into com-
as a place of secrets. This was mirrored later in the novel mon life and writing. Rather than establish the roman-
with Adeline hiding from the Marquis de Montalt and the tic plot in impossible events Radclie strays away from
secrets of the Marquis, which would eventually lead to his writing merely fables, which no stretch of fancy could
downfall and Adelines salvation.[70] realize.[73]
English scholar Chloe Chards published introduction to
Architecture served as an additional character in many
The Romance of the Forest refers to the promised eect
Gothic novels, bringing with it associations to the past and
of terror. The outcome, however, may prove less hor-
to secrets and, in many cases, moving the action along and
foretelling future events in the story. ric than the novel has originally suggested. Radclie
sets up suspense throughout the course of the novel, in-
sinuating a supernatural or superstitious cause to the mys-
10.2 The female Gothic and the supernat- terious and horric occurrences of the plot. However, the
ural explained suspense is relieved with the Supernatural Explained.
For example, Adeline is reading the illegible manuscripts
Characterized by its castles, dungeons, gloomy forests she found in her bedchambers secret passage in the abbey
and hidden passages, from the Gothic novel genre when she hears a chilling noise from beyond her door-
emerged the Female Gothic. Guided by the works of au- way. She goes to sleep unsettled, only to awake and learn
thors such as Ann Radclie, Mary Shelley and Charlotte that what she assumed to be haunting spirits were actually
Bront, the Female Gothic permitted the introduction of the domestic voices of the servant, Peter. La Motte, her
feminine societal and sexual desires into Gothic texts.
 13

caretaker in the abbey, recognizes the heights to which graduate from adolescence to maturity,[78] in the face of
her imagination reached after reading the autobiographi- the realized impossibilities of the supernatural. As female
cal manuscripts of a past murdered man in the abbey. protagonists in novels like Adeline in The Romance of the
Forest learn that their superstitious fantasies and terrors
"I do not wonder, that after you had suered are replaced with natural cause and reasonable doubt, the
its terrors to impress your imagination, you reader may understand the true position of the heroine in
fancied you saw specters, and heard wondrous the novel:
noises. La Motte said. The heroine possesses the romantic temperament that
God bless you! Maamselle, said Peter. perceives strangeness where others see none. Her sensi-
bility, therefore, prevents her from knowing that her true
Im sorry I frightened you so last night.
plight is her condition, the disability of being female.[78]
Frightened me, said Adeline; how was you
concerned in that? Another text in which the heroine of the Gothic novel
encounters the Supernatural Explained is The Castle of
Wolfenbach (1793) by Gothic author Eliza Parsons. This
He then informed her, that when he thought Monsieur Female Gothic text by Parsons is listed as one of Cather-
and Madame La Motte were asleep, he had stolen to her ine Morlands Gothic texts in Austens Northanger Abbey.
chamber door... that he had called several times as loudly The heroine in The Castle of Wolfenbach, Matilda, seeks
as he dared, but receiving no answer, he believed she was refuge after overhearing a conversation in which her Un-
asleep... This account of the voice she had heard relieved cle Weimar speaks of plans to rape her. Matilda nds
Adelines spirits; she was even surprised she did not know asylum in the Castle of Wolfenbach: a castle inhabited by
it, till remembering the perturbation of her mind for some old married caretakers who claim that the second oor is
time preceding, this surprise disappeared.[74] haunted. Matilda, being the courageous heroine, decides
While Adeline is alone in her characteristically Gothic to explore the mysterious wing of the Castle.
chamber, she detects something supernatural, or myste- Bertha, wife of Joseph, (caretakers of the castle) tells
rious about the setting. However, the actual sounds that Matilda of the other wing": Now for goodness sake,
she hears are accounted for by the eorts of the faithful dear madam, don't go no farther, for as sure as you are
servant to communicate with her, there is still a hint of alive, here the ghosts live, for Joseph says he often sees
supernatural in her dream, inspired, it would be seem, by lights and hears strange things.[79]
the fact that she is on the spot of her fathers murder and
that his unburied skeleton is concealed in the room next However, as Matilda ventures through the castle, she nds
hers.[75] that the wing is not haunted by ghosts and rattling chains,
but rather, the Countess of Wolfenbach. The supernatu-
The supernatural here is indenitely explained, but what ral is explained, in this case, ten pages into the novel, and
remains is the tendency in the human mind to reach out the natural cause of the superstitious noises is a Count-
beyond the tangible and the visible; and it is in depicting ess in distress. Characteristic of the Female Gothic, the
this mood of vague and half-dened emotion that Mrs. natural cause of terror is not the supernatural, but rather
Radclie excels.[75] female disability and societal horrors: rape, incest and the
Transmuting the Gothic novel into a comprehensible tale threatening control of the male antagonist.
for the imaginative eighteenth-century woman was use-
ful for the Female Gothic writers of the time. Novels
were an experience for these women who had no outlet 11 See also
for a thrilling excursion. Sexual encounters and super-
stitious fantasies were idle elements of the imagination.
Gothic lm
However, the use of Female Gothic and Supernatural Ex-
plained, are a good example of how the formula [Gothic List of gothic ction works
novel] changes to suit the interests and needs of its current
readers. Weird ction
In many respects, the novels current reader of the time
was the woman who, even as she enjoyed such novels,
would feel that she had to "[lay] down her book with 12 Notes
aected indierence, or momentary shame,[76] accord-
ing to Jane Austen, author of Northanger Abbey. The [1] Punter (2004), p. 178
Gothic novel shaped its form for female readers to turn
to Gothic romances to nd support for their own mixed [2] Fuchs (2004), p. 106
feelings.[77]
[3] Scott, Walter (1870). Clara Reeve from Lives of the Emi-
Following the characteristic Gothic Bildungsroman-like nent Novelists and Dramatists. London: Frederick Warne.
plot sequence, the Female Gothic allowed its readers to pp. 545550.
14
[4] Dr. Lillia Melani. Ann Radclie (PDF). Retrieved May
3, 2012.
[5] David Cody, Ann Radclie: An Evaluation, The Victo-
rian Web: An Overview, July 2000.
[6] The New Monthly Magazine 7, 1826, pp 14552
[7] Wright (2007) pp35-56
[8] Birkhead (1921).
[9] Wright (2007) pp 5773
[10] Cussack, Barry, p. 10-16
[11] Cussack, Barry, p. 10-17
[12] Hogle, p. 65-69
[13] Luly, Sara (2016). Polite Hauntings: Same-Sex
Eroticism in Sophie Albrechts Das hiche Gespenst.
Seminar: A Journal of Germanic Studies. 52 (1).
doi:10.3138/seminar.2016.52.1.60.
[14] Hogle, p. 105-122
[15] Cussack, Barry, p. 91. 118123
[16] Cussack, Barry, p. 26
[17] Cussack, Barry, p. 23
[18] Cornwell (1999). Introduction
[19] Cornwell (1999). Derek Oord: Karamzins Gothic Tale,
p. 37-58
[20] Cornwell (1999). Alessandra Tosi: At the origins of the
Russian gothic novel, p. 59-82
[21] Cornwell (1999).Michael Pursglove: Does Russian gothic
verse exist, p. 83-102
[22] Krys Svitlana, Folklorism in Ukrainian Gotho-Romantic
Prose: Oleksa Storozhenkos Tale About Devil in Love
(1861). Folklorica: Journal of the Slavic and East Euro-
pean Folklore Association 16 (2011): pp. 117-138
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[45] Skarda 1986
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[47] Skarda (1986)
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[49] (Wisker (2005) pp232-33)
[50] Skarda and Jae (1981) pp418-56)
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 17

14 External links
Gothic Fiction at the British Library

Key motifs in Gothic Fiction a British Library lm

Gothic Fiction Bookshelf at Project Gutenberg

Irish Journal of Gothic and Horror Studies

Gothic Author Biographies

The Gothic Imagination
18 15 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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