Gothic Literature
It is impossible for literature not to reflect contemporary issues and preoccupations.
Therefore, to understand Gothic literature it is necessary to first understand the
political, intellectual, and spiritual mindset of the time. This period, between 1750 and
1820, was a time of great uncertainty in almost every aspect of society. The Gothic
genre, although covering a wide range of settings, characters and plots, always
expresses this tension. “Gothic fiction is not only written about confusion, it is written
from confusion”. (1) excellent intro
need a topic sentence here The aristocracy believed that they were the ‘true’ British
people, descended from the Normans and exemplifying their sophistication and
refinement. They saw the working class as the coarse natives of Anglo-Saxon
England, being ‘untamed’ and wild. The Gothic movement saw these same
distinctions but reversed their value. For them the time was ripe for the native AngloSaxons to throw off the foreign yoke of Norman manners and institutions.
The French Revolution played a major part in the huge political changes taking place
around Europe and the Western world. The revolutionary concepts of “liberty,
equality and fraternity” awakened tensions between the classes in British society.
The aristocracy feared a revolt by the lower classes, knowing that their own wealth
depended upon their continued ignorance. The working class was beginning to stir
from its long acceptance of subservience. The middle class was in an ambiguous
position. It both lusted after and despised the greed and amorality of the aristocracy,
while feeling contempt for and fear of the working class.
The term Gothic was used by both ends of the political spectrum. According to the
right wing interpretation of British history the Gothic ideal represented hierarchy,
tradition and aristocracy as opposed to the feared rise of uncultivated commoners.
The left wing used “Gothic” in a more historically correct way, interpreting the original
Goths as people of the Germanic tribes, including their own Anglo-Saxon forebears,
who claimed a freedom-loving tradition.
The Gothic was also a reaction to the Enlightenment. “The gothic revival was a
reaction to a century or more where rationalism, empiricism and classicism were the
dominant ideological forces”. (2) The Gothic fascination with emotion and experience
conflicted with the Enlightenment’s emphasis on the intellect, its insistence on
empirical evidence and its aspiration toward rationality.
this is very well written and expressed. BUT you also need overview-structure
sentences to give a sense of direction to your discussion. That's missing here
Western thought had not yet explored the idea of the subconscious, but Gothic
literature was certainly touching on it. Its presentation of dreams as being as
important as waking experience suggests that these writers believed strongly in the
power and validity of the subconscious.
Despite, and even maybe because of, the Enlightenment, Gothic writers wrote in a
way that reveals how highly they valued imagination and emotion over rationality.
The fact that vampires, werewolves and other supernatural beings were not proven
(nor disproven) by science was not important; what mattered was what they
represented, the truth that could be told through these non-naturalistic characters,
settings and plots. In this way Gothic literature foreshadowed the Surrealist
movement, in which artists aimed to use bizarre objects and settings to reveal a truth
“more real” than that which could be shown by naturalistic representation.good
Gothic writers lived in very turbulent times. Religion, faith and spirituality, which had
long been sources of stability, were being challenged. There was a growing sense
that there might be inconsistencies between the Christian creed and the institution of
the Church; parishioners were disillusioned by the misappropriation of their tithes;
people began to think they were entitled to question the established order. “Aspects
of the gothic revival may be viewed as symptomatic of this (resentment) – even when
unintended by particular authors or artists.”(3) It is not surprising that Gothic novels
gave voice to a new awareness fomenting in people’s minds.
nicely written
Although the vast majority of people in the 18th century believed in Christianity, the
“enlightened” pursuit of rationality meant that religion was restricted to faith and
practice; direct spiritual experiences were devalued and people who believed in such
“superstitious nonsense” were dismissed. It could be argued that the Gothic put
people back in contact with spiritual experience through its supernatural themes and
emotional intensity.
Gothic literature has many elements which, combined, increased its popularity.
Gothic writers began to use certain 'shock' tactics designed to jolt their audiences out
of their lassitude. This became popular because those readers who were affluent
enough to indulge themselves in fake horrors were confident that they could shut the
book and re-enter their everyday lives.
The popularity of gothic fiction can also be attributed to the way it exploited
sensational subject matter in the guise of condemning it. In this way people could
read vivid descriptions of sex, rape and nakedness without the guilt of indulging in
erotic novels.
The Castle of Otranto by Horace Walpole (1764) is regarded as the first Gothic novel
to be published on a large scale. The plot is long and complex, containing many
representative elements of Gothic literature. Its fascination with the past, taste for the
bizarre and inexplicable, insights into sexuality, (especially that of women) and
exotic, usually dark, settings all contribute to make it an epitome of its genre. terrific
overview
The past is an essential element of Otranto: a prince and a marquis and their
relationship; a medieval castle; the Crusades; the absolute power of the aristocracy
over women and peasants; the authority of the priest; a lost (and restored) birthright
and a doomed obsession with succession.
Manfred, the villain, will stop at nothing to ensure the continuation of his bloodline at
Otranto, including lying that his wedding to his wife is unlawful, trying to marry the
daughter of the rightful owner of the castle, and in the end stabbing his own
daughter. He also has the power of life and death over the peasantry. The women
have little or no power other than to escape to a convent. Walpole used this medieval
world to illustrate a major contemporary theme: the abuse of power.
Walpole also indulges the Gothic taste for the bizarre and inexplicable: the usurper’s
son is crushed to death by a huge helmet which falls from the sky; a “gigantic sabre”
falls to the ground and cannot be picked up; a giant disembodied hand appears in the
very same courtyard. This also reflects a Gothic theme: an omniscient and
omnipotent supernatural presence.
Throughout Otranto scenes of darkness and shadow create an atmosphere of
uncertainty and confusion, even resulting in mistaken identity. These typical Gothic
settings play a major part in creating the macabre mood. In this particular novel the
setting itself (the Castle) is the ‘hero’: it starts the series of events which eventually
defeat Manfred’s ambition and disperse his family. In one of the last scenes, the
castle collapses and speaks in the voice of Alfonso (true heir to the throne) and all is
resolved. This is a classic example of how vital the setting is in gothic literature.
Gothic literature is clearly a product of contemporary social, political, intellectual and
spiritual concerns. In The Castle of Otranto, Horace Walpole has fully utilised many
key elements of the Gothic novel to express the preoccupations of his troubled times.
a wrap-up conclusion, perhaps from a present day perspective, would be good. 2
or so sentences is enough
As I said, you need signposts to lead your reader. You probably want, say, 4 or 5
or 6 major points you want to touch on. For that, you need topic sentences. I
think your series of fairly short paragraphs does not help. While you touch on
some excellent content, and write very well, the overall structure is not so clear.
22/ 25
(1) The Romantic Novel in England, Robert Kiely (1972)
(2) The Gothic Tradition, David Stevens, p.19 (2000)
(3) The Gothic Tradition, David Stevens, p.19 (2000)