Introduction
It is accurate to say that a gothic horror story is defined as a frightening story that has echoes of the past and has a constant theme of gloom and the supernatural, which makes it dark and rather threatening. From any perspective and point of view, gothic fiction cannot be dismissed as merely escapist and sensational on the basis that it is more than having only these two elements in it. There are many useful prospective insights which cannot be termed and delimited to mere sensational and escapist ones.
Science fiction is fiction based and claims scientific discoveries and often deals with convincing technological events, such as, space travel or life on other planets. By taking into account the definitions of the attributes, you can clearly see that one of the criteria for a gothic horror story is the use of light and darkness to create a sinister atmosphere.
In the beginning of gothic fiction era, it was not long after the translation of mythological texts that artists began experimenting with ways to elevate and transport their audiences with the use of the sublime. One group in particular began using the ideas of terror, death, and the supernatural, in combination with that which is terrible in nature to create the sublime. This group became known as the “Graveyard Poets” or the “Graveyard School”. On why these poems are effective author Fred Botting (2001:39) states, “the awful obscurity of the settings of Graveyard poetry elevate the mind to ideas of wonder and divinity”. In other words it’s the sublime imagery that produces the required effect.
“Graveyard Poetry” became increasingly popular during the early 1700’s, and paved the way for what would officially become “Gothic” literature. It was not long before the sublime idea of terrible nature grew until it included even more of the supernatural such as fantastical beings, witchcraft, and other extraordinary phenomena (Kemp, 2001, WEB). These became the components that gave Gothic literature its very definition. The first author to utilize these elements in a large literary work was Horace Walpole in his novel, The Castle of Otranto. It was the first novel to receive the title of “Gothic”, and it was also one of the first to use and develop the sublime.
In the Preface to his second edition, Walpole strives to construct a structure by which the Gothic novel can be defined. He states that in Gothic texts, it is necessary to leave, “the powers of fancy at liberty to expatiate through the boundless realms of invention, and thence of creating more interesting situations… to conduct the mortal agents… according to the rules of probability” (Walpole, 1964:7). In this description, Walpole is essentially offering a definition of the sublime as it is the sublime that elevates the “fancy” as it both fears and finds astonishment in the “boundless realms of invention”, but can delight in it as no real danger is found as it is “conducted” by “the rules of probability”. In this Walpole is demonstrating how the sublime is a necessary ingredient to the Gothic genre.
The Sublime in Gothic Fiction
Burke defined precisely what is to be considered sublime. Some of the main Characteristics that Burke (1834) identified as ones that lead to sublimity include: obscurity, eternity and infinity, the crowded and the confused, power, vastness, magnificence, darkness, and excessiveness. He also points out that its nature that primarily conveys the sublime. These guidelines laid out by Burke became the structure by which all Gothic scenes were constructed. In this work, Burke also gave justification to the continuance of the Gothic genre as he identifies and highly emphasizes terror as being the ruling attribute of the sublime. He declares terror to be the “ruling principle” in the sublime as he states:
Whatever is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime (1834: 42).
However Burke does set down the limitation that the terror, “should have no idea of danger connected with it” as this would hinder the production of “delight” (1834:74). This lends an understanding to the Gothic text then, as it is the aim of the author of a Gothic text to produce terror so that it delights the reader (Hennelly, 2001, 19). The Gothic writers who came soon after Burke display how his ideas of the sublime greatly influenced their Gothic writing.
As more time has progressed and more thought given to the idea of the sublime, the Gothic has evolved, and has even produced a number of sub genres. In all of them, the sublime is a crucial element. As it is seen, this genre as a whole would not have been made possible if not for the sublime. Furthermore, without the sublime, a complete understanding of Gothic texts would be impossible.
While assessing this evolution, Richard Davenport-Hines pronounced, “Gothic is nothing if not hostile to progressive hopes”. The Gothic plot in Dorian Gray is ultimately hostile to the progressive hopes held out by the Paterian plot of self-actualization. (Davenport, 1998, 139)
The Element of Supernaturalism
Most of the gothic fiction involves the supernatural. The monster in “Frankenstein” and the vampire in “The Vampire of Kaldenstein” both have similar qualities. Both are obviously not human and look natural and strange. The creature is described as a “catastrophe” and his creator goes on to describe the monster in full. “His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of pearly whiteness, but these luxuriances only formed a more horrid contrast with his watery eyes, his shrivelled complexion and straight black lips”. This account of the monster really gives the reader a clear picture of how different the monster is. The vampire is described as “unusually tall, with a face of unnatural pallor”. The narrator also adds that the creature “cast no shadow”.
For the period of the closing years of the eighteenth century, England emerged and involved in the whirlpool of a collective unravelling. The contemporary philosophers provided the scholarly circles with such theories of inspiration and action that warranted their self-interested attitude and started to expose themselves as unendurable. The incongruity between the English philosophy in which “individual desires and collective needs participated in perfect reciprocity” (Clery, 2002, 35) and real political and economic circumstances commenced to facade.
It is out of this sociological environment that the Gothic novel emerged: an innovative, shocking and fearful genre for a prospective time. The phantom of communal uprising is obvious in the mystical “spectres” of the Gothic: a ghastly way of life emerges as a haunted and disintegrative Gothic mansion; the thrashing of English societal distinctiveness stands the Gothic hero or heroine’s quest for individuality.
Although, the Gothic is frequently reproached or even rejected for its excessively histrionic situations and absolutely expected plots, but the unbelievable attractiveness of the genre in the eighteenth and early nineteenth centuries, and the regaining of gothic narratives within the past two decades, indicates to an elasticity that cannot be ignored.
The Gothic novel evolves onward rather abruptly as the rising obsession with individual awareness that starts in the early 18th century crash with the exceptional cultural apprehensions of the late 18th century. The sensations of the gothic fiction characters are exposed and externalized in a far-reaching new technique; their innermost fears and passions are literally modified as other characters, paranormal and weird phenomena, and yet lifeless objects. Simultaneously, the trait of the fright portrayed in these novels–fear of incarceration or snare, of individual breach and rape, of the victory of wickedness over good and pandemonium over order–appears to reproduce a particular historical time branded by growing disenchantment with illumination lucidity and by blood-spattered revolutions in France and America.
“The progressive myth of Frankenstein deserves the name of science-fiction, whereas Dracula can only be discarded as superstition fiction.” (Botting, 2001, 71) “We can account for Dracula’s success, and for its continuing success only in terms of the eternity of the opposition between Good and Evil, in terms of human nature, that is in the very terms in which the myth itself is couched — at the cost of dehistoricising the novel and the myth that has developed around it.
It is also unjust to the novel, by insisting on its obvious flaws, and neglecting the very qualities that have ensured its survival. For instance, Dracula, relying as it does on a multiplicity of texts and of points of view, is narratively more complex than Frankenstein, which is based on the traditional structure of embedded narratives; and to call it superstition-fiction means that we forget the advanced technology that amply compensates for the garlands of garlic — whereas Frankenstein’s bright idea was inspired by alchemy”. (Botting, 2001, 72)
The first factor included in a science fiction genre is the existence of aliens or strange creatures. The strange creature that was created in ‘Frankenstein’ was obviously the monster. “The Gothic, we find, as it enters the twentieth century just past, has performed an unusually intense enactment of the changing assumptions about signification that Baudrillard has traced in Western history since the fading of ‘the counterfeit’ from dominance.
In Frankenstein, the ghost of the counterfeit is shown giving way, as the culture did, to the sign as a manufacturable and mechanically reproducible ‘simulacrum’, the very next stage, the ‘industrial’ one, in our thinking about symbols.” (Botting, 2001, 157) The most vital criterion for a science fiction story is the connection with reality. It has to be relevant to earth or humanity and have something familiar that people can relate to.
Most of the theories developed to create the monster are realistic. Frankenstein has a combination of both elements which gives it a good diversity. The gothic component comes in mainly with the violence and romance, but the creation discovery is more science based. This makes ‘Frankenstein’ a good mix between the two genres, which makes the story more effective and helps it suit a wider audience. (Kilgour, 1997, 66)
Mystery Horror and suspense in Gothic Fiction and Their Significant Utility
A word or two should be said about the difference in meaning that the word ‘mystery’ has in American and British contexts. Writing of psychological ghost stories, Peter Penzoldt suggests that American authors prefer a natural explanation, while the English do not fear to intimate that there is more in the world than reason can account for. Glen Cavaliero, too, points to ‘the repeated tendency of English novelists to write about the supernatural or at any rate about mysterious and inexplicable events’. (Cavaliero, 1995, vi)
The Society considered its work in encouraging and directing restorations to be highly useful; yet none of its activities have been so offensive to succeeding generations. The encouragement which the Ecclesiologists gave to replacing medieval features by more ‘correct’ details was abused by many architects. But the Society must bear the responsibility for the wholesale destruction of great quantities of medieval art. Sir Kenneth Clark remarks: ‘It would be interesting to know if the Camden Society destroyed as much medieval architecture as Cromwell. If not it was from lack of funds, sancta paupertas, only true custodian of ancient buildings.’ (Clarke, 1962, p. 237)
The pattern of Gothic fiction, to a certain extent is the delineation of two apparently alternative spaces, the violation of boundaries between them, the overwhelming power of the more negative and deconstructive environment—is widely, almost universally shared by horror narratives, explicitly or inferentially. Horror narrative stresses the teleological implications of abjection; it is the ultimate literature of absence—from God, from substantial selfhood—and the ghost is its central character.
It is no wonder that Mary Shelley in Frankenstein parodies Paradise Lost; horror narrative records loss, paradise gone and certainly not to be regained. Kristeva goes on to note that “all abjection is in fact recognition of the want on which any being, meaning, language, or desire is founded” (Kristeva, 1982, 61). David Punter argues that “our knowledge of romantic-period Gothic drama can be informed by the politics of an increasingly plebeian theatre.” (Putner, 2000, 102)
Important Elements in Gothic Fiction
The gothic genre, as with all genres, is made up of many elements and concepts resulting in a massively broad and varied spectrum; including the supernatural, the sublime and horror to name but a few of the more common and generally fundamental ones. Some concepts may be clearly overt, and others will be more discreetly manipulated, but nevertheless a gothic text will more often than not include many of these elements. In terms of the supernatural in the gothic genre, it generally appears in the form of some kind of other than natural being or object, such as a vampire or ghost, which is frightening due to its refusal to adhere to the laws of nature, God or man.
Returning to Frankenstein, it could be argued that there is no element of the supernatural, or alternatively that the creature is supernatural by virtue of its being a composition of dead parts then re-animated by ungodly means.( Kilgour, 1997, 69)
Elements of the supernatural may seem to be almost an obligatory component of the gothic tale. On a closer examination, the word itself suggests also a rather deeper level of meaning: beyond that of the natural, rationally explainable world. In this expanded sense the supernatural relates to another favourite gothic, and Romantic, concept: the sublime. Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) was a particularly influential treatise in this context, focussing on the human reaction to an overwhelming experience that transcends everyday normality.
It is hardly surprising that Burke’s words had such an impact, as they succinctly state what so much gothic art was striving for with greater or lesser degrees of success. “Whilst we contemplate so vast an object, under the arm, as it were, of almighty power, and invested on every side with omnipresence, we shrink into the minuteness of our own nature, and are, in manner, annihilated before him.” (Burke, 1834, 41)
The mystical and religious connotations should be clear; gothic writers also noted the link between this overwhelming, oceanic sensation and some degree of horror. In gothic narratives there are abundant examples of supernatural and sublime elements, sometimes overt and sometimes less so. There is a useful distinction to be drawn between those authors who tend to leave the supernatural elements unresolved and those who seek rational closure through explaining the apparent mystery.
The two words ‘gothic’ and ‘horror’ seem to belong together, so close is their relationship. Horror however does not have to be present in a gothic text; neither does its presence necessarily make a text gothic. As Clive Bloom indicates; “Horror is the usual, but necessarily the main ingredient of gothic fiction and most gothic fiction is determined in its plotting by the need for horror and sensation. It was Gothicism, with its formality, codification, ritualistic elements and artifice……that transformed the old folk tale of terror into the modern horror story.” (Bloom, 1998, 110)
Gothic Fiction as Fantastic Literature
There are certain well-known definitions as regards to fantasy or the fantastic and all of these are worth considering. Eric Rabkin’s Fantastic in Literature (1976) deals largely with the same subject matter. This particular piece opens with an examination of Alice’s surprised response to the talking plants in Lewis Carroll’s “Through the Looking Glass”. Rabkin argues that the fantastic mode is established through the reversal of the ground rules: as he says, “One of the key distinguishing marks of the fantastic is that the perspectives enforced by the ground rules of the narrative world must be diametrically contradicted.” (Rabkin, 1976, p.8)
Victor Sage, in his “Horror Fiction in the Protestant Tradition”, narrates the method in which, in the Pauline solace convention concerning the seventeenth century, the aging house implied and worked as a connotative metaphor for the body’s unavoidable decomposition and as a trope of mortality and decay in a wide-ranging implication. Sage, to further elaborate the case, refers to a seventeenth-century Huguenot content that, employing the house far-fetched simile, depicts the body assaulted and devastated by degenerative powers:
“Death labours to undermine this poor dwelling from the first moment that it is built, besieges it, and on all sides makes its approaches; in time it saps the foundation, it batters us with several diseases and unexpected accidents; every day it opens a breach, and pulls out of this building some stones.” (Sage, 1988, p.1)
In literature, for the reader to become oriented, they must search for clues as to the equilibrium of the setting. In Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde, the reactions of his characters provide the reader with a backdrop of that reality. When events start to go askew, we look to these characters to show us just how far askew. Utterson serves as a neutral facilitator to obtain for the reader this feedback. Stevenson first establishes these characters as reliable, and then relies on their reactionary movements (testimony and actions) to illustrate the intensity of man’s dual natures. It is in these reactions that the reader can discern just how ordinary or outlandish the actions committed by Henry Jekyll/Edward Hyde really are.
It also offers an outlet for the comparison of Jekyll/Hyde’s actions to the morals and attitudes of society. The actions of the Hyde persona deviate greatly from what Stevenson has established through characters such as Poole and Dr. Lanyon as Jekyll’s basic nature.
We are shown that the divergence between the characters of Jekyll and Hyde is not a miniscule one, but capable of creating disarray and disbelief. It works as a perfect illustration, and further supports my point. Stevenson most definitely relies on the intensity of his characters’ reactions to emphasize the tremendously disparate natures of Jekyll and Hyde. It adds enormous depth and magnitude that would be lost if the reader were only shown Jekyll and Hyde’s actions, but not the reactions yielded by them. (Attack, 2003, 90) We are also shown much about the balance of the world Stevenson created for his novel. Clearly, the balance has been thrown off.
The characters react with fear and terror at this maelstrom of reality gone asunder. Stevenson valiantly achieves this effect solely by demonstrating these reactions. Were we simply shown Hyde’s actions, and then informed that Hyde was acting in ways incongruent from Jekyll’s normal behaviour the effect would be nowhere near as poignant.
Conclusion
The Gothic fiction cannot be assumed or declared as escapist genre of literature rather it is filled with hidden eroticism that drags the reader into a daemonic and antiquated womb which is manifestly the author’s. The partisanship of the text and the reader is reduced by the hypothetical genuineness of the author’s objective.
The soundness of the text is thus focussed to a critic’s words not the incidence of the reader. Amplifying the Gothic, psychoanalysis seems to be late gothic story that has risen to help describe twentieth-century knowledge of contradictory aloofness from the panic of others and the precedent. This relevance of language eliminates the reader from the gothic fiction text. The text has unexpectedly become a caldron of depraved sensationalism contrasted with voyeurism and exhibitionism emphasized transvestism that demarcates the misuse of Christian moralism.
The Gothic fiction has had a massive effect and influence on many genres of literature since its beginning in the middle seventeenth century. Attractiveness of the Gothic genre has progressively amplified as the mistrust of the legends of the Age of Reason has been reached us. Nevertheless, literary criticism of the past as well as present has been dawdling to recognize the Gothic as a valid genre. Previously critics have traced the immensity of Gothic to revitalize a putrefying genre, but at present modern critics have found to shed new orientation into this literary mystery by diverse literary perspectives. Numerous opinions through the years have evaluated, but the most noteworthy of them is the psychoanalytical approach.
This strives to relate Freudian, Jungian, and post-Jungian notion and words to the Gothic text. Nonetheless, by implementing this perspective to a text it gives emancipation to the hazard of misreading a text. This assumption rules out the reader from the text whereas striking the author back into it. This decreases the soundness of the text by imagining the target of the author. Such readings and involving of literary tools concentrate on extraneous features of the text and lessen it to a medium to maintain ideas not in the actual text.
One of the reasons that this always has been, still is, and always will be one of the best examples of horror/gothic fiction, is because it exploits the universal disgust at human corpses. Whether they are whole, in pieces, fresh or decaying, it is safe to assume that almost anyone would be horrified and disgusted at the sight of them. Because Victor ‘dabbled among the unhallowed damps of the grave’ to gain body parts to create the monster, the monster is imagined, even with no further description, as hideously ugly, revolting, and probably unfeeling. This initial assumption definitely adds to the horror of the story, and also adds to the sympathy we perhaps feel later in the novel for the monster, at the way people judge him so cruelly.
Descriptions are highly detailed and create a vivid picture; often so detailed they could form a comprehensive travel guide. Conversely, as we move from Walton’s point of view to that of Victor these locations are made strange and foreign by the use of highly melodramatic and emotive language, ‘But it was augmented… the habitations of another race of beings’ , a practice common in both gothic and melodramatic writing.
The landscapes encountered are wild, barren and untamed and we move through a world of extremes; from the towering majesty of the Alps, via the wind swept remoteness of the Orkneys, to the barren wasteland of the Arctic and each step in Victor’s journey echoes his deteriorating sanity. This, combined with Shelley’s use of the weather to evoke a dark and brooding atmosphere overlies the narrative with an implication of the paranormal, leaving the reader always aware of a sensation of impeding doom.
The Creature is driven to his later actions by the behaviour of those around him and by a society who apportions worth on physical appearance and social standing. Where the Creature would give only love and affection, humanity gives him fear, repulsion and pain.
He is rejected by everyone, even by the old, blind elder De Lacy ‘Great God… Who are you’ but, even then, he retains his innate humanity. It is only after he is shot while saving the girl child from drowning that his personality begins to change ‘The feelings of kindness… gave place to hellish rage…’ and he begins to become the monster society perceives him to be. In responding to monstrous treatment he becomes monstrous.
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