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12
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The Gothic genre as we know it today, features in many films and television shows and was defined
in the Romantic Era
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The supernatural, the terror, the sublime, the imagination and graphic horror
embody the Gothic style
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Gothic principles
were heavily based around Romantic thought, which promoted spiritual feeling over rationale
explanation; but towards the fin de siècle, the Gothic branched away from realism towards the
supernatural
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The Gothic novel aims to create illusion
and mystery to dramatically uncover morality through shock tactics
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The horror aspect is displayed through the supernatural or divine
unexplainable force, which in literature is intensified and often personified so that the feeling of terror
resonates with the reader
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chivalry and
adventure” (Botting, 2005)
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In The
Italian Radcliffe creates fear for the heroine with poetic realism which questions morality, “she is sent
into an eternal sleep
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The juxtaposed morality of
Radcliffe’s villain Father Schedoni shocks the reader as he holds the position of a priest; yet he acts
against morality and biblical correctness, manipulating the reader’s feelings of love and fear
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Late Romantic novel Frankenstein similarly uses romance to elude the reader to the human
condition
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The female’s description as sympathy
categorises love as a mediator and moral compass to the monster’s redemption from his sins
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Frankenstein is seen as a villain due to his folly and hunger for
unworldly knowledge
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Frankenstein suffers losing his lover and brother to his monster
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The monster’s sensibility towards Frankenstein proves that even lost souls can feel regret and sorrow
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The sublime was sought after by the Romantics, they longed for spiritual elevation of the mind to
access ultimate knowledge; the sublime was seen as an unparalleled beauty which inspired such
insight
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Ann Radcliffe’s
sombre Gothic sentimental novel The Italian uses vivid scene imagery to portray a glimpse of
unnatural forces at work; continuing Radcliffe’s belief of the Gothic as radical, yet justifiable
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In
Romanticism and the Gothic Botting sees mountains as the “foremost objects of the natural sublime”
(Botting, 2005); further expressing Edmund Burke’s conclusion that any large scale setting “produced
awe and terror” (Botting, 2005)
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Radcliffe’s exotic setting was also used by Shelley as
Frankenstein also originated from Naples
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Walpole’s novel the castle of Otranto claims to be translated from Italian;
although this was simply a ploy to extend the novel’s mystery
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Romantics longed for the unattainable /unexplainable; therefore Italy was upheld momentarily as an
ideal setting for Gothic Literature
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Lord Byron was initially inspired
by Radcliffe’s characterisation of Father Schedoni in The Italian to create a dark, brooding and
mysterious male figure which featured in his poetry; later adapted by the Bronte sisters in their
Victorian Gothic fiction (such as Jane Eyre, Wuthering Heights)
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Radcliffe’s tragic hero is conflicted
between moral codes, although this is simply a reflection on the Romantic confusion of self; the
Byronic hero has evolved to suit the traits of dark romanticism
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The setting of this Romantic Gothic novel was also inspired by The Italian; Hugo creates
grandeur with many statues of demonic figures such as gargoyles
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The Italian lacks the typical “terrifying scenes, mysterious occurrences and spectral figures” (Botting,
2005) which contemporary Gothic Literature embodies
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In The Monk Lewis conflictingly
establishes the supernatural as unnatural, similar to Frankenstein’s monster
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Lewis captivates horror and
creates suspense through graphic superhuman imagery of a bleeding nun
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the paleness of death was spread over her features”
(Lewis, 1796)
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The spirit is a symbol of sexual desire; warning Raymond that submitting to passion is the
agent of physical demise
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To accompany the ghost, Lewis includes a tableau of her
image to emphasise the visual sensation the readers can also feel towards her
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In the end, Agnes’s feelings take priority over reason; coinciding with character’s
reactions to the landscape in The Italian
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The variety of inspiration which can arouse profound thought is made
abundant in early Gothic texts; although the supernatural is sometimes unexplained, it always intends
to teach its reader a moral lesson
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This shock
tactic doesn’t aim to induce fear, but to manipulate the reader’s sense of right and wrong; horror
activates the brain’s creative side as it tries to make sense of the Gothic mystery
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The
Gothic is seen as the shadow side to Romantic Literature, but as Romantic themes and styles are
dominant in the Gothic and it is built by Romantic values; Gothic Literature is Romantic Literature
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(2005) Romanticism and the Gothic
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[online] Academia
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1-48
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academia
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[Assessed 12th December 2015]
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(1796) The Monk
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Radcliffe, A
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United Kingdom: Penguin classics
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(1818) Frankenstein
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