Gothic Novels
In the 18 century, “gothic” was a term synonymous with “uncouth” or “barbaric,”
when referring to art of manners. This is because artefacts from the middle ages were
often extravagant and irregular in their design, so “fell foul of the established standards of
aesthetic propriety” of the newly rational 18th century world, where humanism, logic,
practicality, and reason prevailed.
But by the mid 18th, there was a new interest in the “gothic” inheritance, just as there
was a new interest in things imaginative, generally. German studies extolled the value of
Shakespeare, for example, and the Shakespearean example of unbridled imagination and
creative worked against the contemporary sense that “fancy” was a thing to be abhorred.
Further, architects were inspired by a sort of ‘gothic’ intrigue, and literary critics such as
Richard Hurd (Letters on Chivalry and Romance, 1754) were suggesting that barbarism,
generally, was “especially conducive to the free play of imagination, and that what the
modern era had gained in civility it had lost in poetic inspiration.” So “Fingal” (1762)
and “Temora” (1763), both poems purported to have been written by Ossian, the Celtic
poet of the 4th century CE, became popular—even though it turned out that there never
was an Ossian. But as it turned out, no one cared. They loved the works.
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Genre begun by Horace Walpole 1764, and his “Otranto” (1764), inspired,
Walpole notes, by a dream he had in his own “gothic” castle at Strawberry Hill contains
virtually all of the characteristic features of the genre:
Setting in a castle. Action takes place in and around an old castle, sometimes seemingly
abandoned…secret passages, trap doors, secret rooms, hidden staircases, ruined sections,
links to underground caves, claustrophobia, mystery.
Atmosphere of mystery and suspense. Threatening feeling, a fear enhanced by the
unknown. Plots built upon mysteries, ie., unknown parentage, disappearance,
supernatural death, unexlicable events.
Ancient Prophecy. Connected with castle or its inhabitants (former or present). The
prophecy is usually obscure, partial, confusing. Could be a legend.
Omens, portents, visions. Disturbing dreams visions, prophecy of coming events, or
strange intimations, like the stature of the lord of the man or falls over.
Supernatural events. Dramatic, amazing events occur, ghosts walk, inanimate objects
come to life (armor, swords, paintings). Often these are ultimately explained (Radcliffe)
but not always.
High, even overwrought emotion. Narration is sentimental, characters overcome by
love, anger, sorrow, surprise, terror. Characters suffer from raw nerves and a felling of
impending doom linked to FANCY. Crying, emotional speeches and reunions.
Breathlessness and panic and swoons (Udolpho).
Women in distress. As an appeal to the pathos and sympathy of the reader, femal
characters often face events that leave them fainting, terrified, screaming, sobbing.
Lonely, pensive, oppressed heroine is often central figure, her sufferings pronounced.
Women threatened by Tyranical males. Demands that they do intolerable things.
(Otranto)
Metonymy of gloom and horror. Where something (like rain) is used to stand for
something else (like sorrow). Howling wind, sighs, moans, eerie sounds, clanking chains,
doors slamming shut, ruins of buildings, thunder and lightening, footsteps, rusty hinges
on doors, crazed laughter.