Gothic romance Gothic romance, type of novel that flourished in the late 18th and early 19th cent. in England. Gothic romances were mysteries, often involving the supernatural and heavily tinged with horror, and they were usually set against dark backgrounds of medieval ruins and haunted castles. The Castle of Otranto by Horace Walpole was the forerunner of the type, which included the works of Ann Radcliffe , Matthew Gregory Lewis , and Charles R. Maturin , and the novelFrankenstein by Mary Shelley . Jane Austen s novel Northanger Abbey satirizes Gothic romances. The influence of the genre can be found in some works of Coleridge, Le Fanu, Poe, and the Brontës. During the 1960s so-called Gothic novels became enormously popular in England and the United States. Seemingly modeled on Charlotte Brontë s Jane Eyre and Daphne du Maurier s Rebecca, these novels usually concern spirited young women, either governesses or new brides, who go to live in large gloomy mansions populated by peculiar servants and precocious children and presided over by darkly handsome men with mysterious pasts.
Elements of the Gothic Novel
The gothic novel was invented almost single-handedly by Horace Walpole, whose The Castle of Otranto (1764) contains essentially all the elements that constitute the genre. Walpole s novel was imitated not only in the eighteenth century and not only in the novel form, but it has influenced the novel, the short story, poetry, and even film making up to the present day.
Gothic elements include the following: The term Gothic novel broadly refers to stories that combine elements from horror and romanticism. The Gothic novel often deals with supernatural events, or events occurring in nature that cannot be easily explained or over which man has no control, and it typically follows a plot of suspense and mystery. Here is a list of some common elements found in Gothic novels:
? Gloomy, decaying setting (haunted houses or castles with secret passages, trapdoors, and other mysterious architecture) ? Supernatural beings or monsters (ghosts, vampires, zombies, giants) ? Curses or prophecies ? Damsels in distress ? Heroes ? Romance
? Intense emotions
We ll look at a few characteristics - the supernatural, madness, and romance - in more detail in the following paragraphs, along with classic examples.
—The Supernatural The Gothic novel arose in part out of the fact that for the English, the late 18th and 19th centuries were a time of great discovery and exploration in the fields of science, religion, and industry; people both revered and questioned the existence of God or a higher power. Gothic novels allowed writers and readers to explore these ideas through the medium of storytelling. Ghosts, death and decay, madness, curses, and so-called things that go bump in the night provided ways to explore fear of the unknown and what control we have as humans over the unknown. Dramatic, amazing events occur, such as ghosts or giants walking, or inanimate objects (such as a suit of armor or painting) coming to life. In some works, the events are ultimately given a natural explanation, while in others the events are truly supernatural. As you might imagine, Hollywood uses special effects to a large degree to provide fire, earthquakes, moving statues, and so forth, often bluring the line between human-produced, natural, and supernatural events.
—Madness The Gothic can also refer to stories involving strange and troubling events that, while they have logical, natural explanations, seem to originate from unexpected forces. Charlotte Bronte employs this element of the Gothic in Jane Eyre, published in 1847. While living in Thornfield Hall as a governess, Jane frequently hears strange noises and laughter coming from the third story of the mansion that no one will explain, and odd things keep happening in the dead of night, such as her master Mr. Rochester s bed catching fire and an attack on a guest. Eventually Jane discovers that all of this is the work of Mr. Rochester s insane wife, who he s hiding in an attic in the third story and who sneaks out at night to cause mayhem. — Setting in a castle or old mansion. The action takes place in and around an old castle or an old mansion, or the ruins of an old castle or mansion. Sometimes the edifice is seemingly abandoned, sometimes occupied, and sometimes it s not clear whether the buildidng has occupants (human or otherwise). The castle often contains secret passages, trap doors, secret rooms, trick panels with hidden levers, dark or hidden staircases, and possibly ruined sections. The castle may be near or connected to caves.
which lend their own haunting flavor with their darkness, uneven floors, branchings, claustrophobia, echoes of unusual so and mystery. And in horror-gothic, caves are often seem home to terrifying creatures such as monsters, or deviant forms of humans: vampires, zombies, wolfmen.
Translated into the modern novel or filmmaking, the setting is usually an old house or mansion--or even a new house--where unusual camera angles, sustained close ups during movement, and darkness or shadows create the same sense of claustrophobia and entrapment. The house might be already dark, perhaps because it was abandoned, or it might at first seem light and airy, but either night comes and people turn off the lights to go to bed, or at some dramatic point the lights will fail (often because of a raging storm). (And, as movie goers know well, while the scenes and dialog form the rational (or irrational) movement in the film, the music controls the emotional response to what is seen and spoken.) The goal of the dark and mysterious setting is to create a sense of unease and foreboding, contributing toward the atmospheric element of fear and dread. Darkness also allows those sudden and frightening appearance of people, animals, ghosts, apparent ghosts, or monsters.
— An atmosphere of mystery and suspense. The work is pervaded by a threatening feeling, a fear enhanced by the unknown. This atmosphere is sometimes advanced when characters see only a glimpse of something-was that a person rushing out the window or only the wind blowing a curtain? Is that creaking sound coming from someone s step on the squeaky floor, or only the normal sounds of the night? Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event. People disappear or show up dead inexplicably. Elements 3, 4, and 5 below contribute to this atmosphere.
In modern novels and filmmaking, the inexplicable events are often murders. The bodies are sometimes mutilated in ways that defy explanation--"What kind of monster could do this?" or "Here s the body, but there s no blood." When the corpses start to mount, suspense is raised as to who will get killed next.
— An ancient prophecy is connected with the castle or its inhabitants (either former or present). The prophecy is usually obscure, partial, or confusing. "What could it mean?" In more watered down modern examples, this may amount to merely a legend: "It s said that the ghost of
old man Krebs still wanders these halls." Ancient, undecipherable maps showing the location of amazing treasure represent another variant of the ancient prophecy aspect.
— Omens, portents, visions. A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. For example, if the statue of the lord of the manor falls over, it may portend his death. In modern fiction, a character might see something (a shadowy figure stabbing another shadowy figure) and think that it was a dream. This might be thought of as an "imitation vision." Sometimes an omen will be used for foreshadowing, while other writers will tweak the reader by denying expectation--what we thought was foreshadowing wasn t.
—High, even overwrought emotion. The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, fear, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Breathlessness and panic are common. In the filmed gothic, screaming is common.
—Women in distress. As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. A lonely, pensive, and oppressed heroine is often the central figure of the novel, so her sufferings are even more pronounced and the focus of attention. The women suffer all the more because they are often abandoned, left alone (either on purpose or by accident), and have no protector at times. (In horror-gothic films, when the guy tells the girl, "Stay here; I ll be right back," you pretty much know that one of them will soon be dead.)
— Women threatened by a powerful, impulsive, tyrannical male. One or more male characters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. The woman may be commanded to marry someone she does not love (it may even be the powerful male himself), or commit a crime. In modern gothic novels and films, there is frequently the threat of physical violation.
—The metonymy of gloom and horror. Metonymy is a subtype of metaphor, in which something (like rain) is used to stand for something else (like sorrow). For example, the film industry likes to use metonymy as a quick shorthand, so we often notice that it is raining in funeral scenes. (This explains why they never oil the hinges on the doors in gothic
novels.) Note that the following metonymies for "doom and gloom" all suggest some element of mystery, danger, or the supernatural.
which lend their own haunting flavor with their darkness, uneven floors, branchings, claustrophobia, echoes of unusual so and mystery. And in horror-gothic, caves are often seem home to terrifying creatures such as monsters, or deviant forms of humans: vampires, zombies, wolfmen.
Translated into the modern novel or filmmaking, the setting is usually an old house or mansion--or even a new house--where unusual camera angles, sustained close ups during movement, and darkness or shadows create the same sense of claustrophobia and entrapment. The house might be already dark, perhaps because it was abandoned, or it might at first seem light and airy, but either night comes and people turn off the lights to go to bed, or at some dramatic point the lights will fail (often because of a raging storm). (And, as movie goers know well, while the scenes and dialog form the rational (or irrational) movement in the film, the music controls the emotional response to what is seen and spoken.) The goal of the dark and mysterious setting is to create a sense of unease and foreboding, contributing toward the atmospheric element of fear and dread. Darkness also allows those sudden and frightening appearance of people, animals, ghosts, apparent ghosts, or monsters.
— An atmosphere of mystery and suspense. The work is pervaded by a threatening feeling, a fear enhanced by the unknown. This atmosphere is sometimes advanced when characters see only a glimpse of something-was that a person rushing out the window or only the wind blowing a curtain? Is that creaking sound coming from someone s step on the squeaky floor, or only the normal sounds of the night? Often the plot itself is built around a mystery, such as unknown parentage, a disappearance, or some other inexplicable event. People disappear or show up dead inexplicably. Elements 3, 4, and 5 below contribute to this atmosphere.
In modern novels and filmmaking, the inexplicable events are often murders. The bodies are sometimes mutilated in ways that defy explanation--"What kind of monster could do this?" or "Here s the body, but there s no blood." When the corpses start to mount, suspense is raised as to who will get killed next.
— An ancient prophecy is connected with the castle or its inhabitants (either former or present). The prophecy is usually obscure, partial, or confusing. "What could it mean?" In more watered down modern examples, this may amount to merely a legend: "It s said that the ghost of
old man Krebs still wanders these halls." Ancient, undecipherable maps showing the location of amazing treasure represent another variant of the ancient prophecy aspect.
— Omens, portents, visions. A character may have a disturbing dream vision, or some phenomenon may be seen as a portent of coming events. For example, if the statue of the lord of the manor falls over, it may portend his death. In modern fiction, a character might see something (a shadowy figure stabbing another shadowy figure) and think that it was a dream. This might be thought of as an "imitation vision." Sometimes an omen will be used for foreshadowing, while other writers will tweak the reader by denying expectation--what we thought was foreshadowing wasn t.
—High, even overwrought emotion. The narration may be highly sentimental, and the characters are often overcome by anger, sorrow, surprise, fear, and especially, terror. Characters suffer from raw nerves and a feeling of impending doom. Crying and emotional speeches are frequent. Breathlessness and panic are common. In the filmed gothic, screaming is common.
—Women in distress. As an appeal to the pathos and sympathy of the reader, the female characters often face events that leave them fainting, terrified, screaming, and/or sobbing. A lonely, pensive, and oppressed heroine is often the central figure of the novel, so her sufferings are even more pronounced and the focus of attention. The women suffer all the more because they are often abandoned, left alone (either on purpose or by accident), and have no protector at times. (In horror-gothic films, when the guy tells the girl, "Stay here; I ll be right back," you pretty much know that one of them will soon be dead.)
— Women threatened by a powerful, impulsive, tyrannical male. One or more male characters has the power, as king, lord of the manor, father, or guardian, to demand that one or more of the female characters do something intolerable. The woman may be commanded to marry someone she does not love (it may even be the powerful male himself), or commit a crime. In modern gothic novels and films, there is frequently the threat of physical violation.
—The metonymy of gloom and horror. Metonymy is a subtype of metaphor, in which something (like rain) is used to stand for something else (like sorrow). For example, the film industry likes to use metonymy as a quick shorthand, so we often notice that it is raining in funeral scenes. (This explains why they never oil the hinges on the doors in gothic
novels.) Note that the following metonymies for "doom and gloom" all suggest some element of mystery, danger, or the supernatural.
Elements of Romance In addition to the standard gothic machinery above, many gothic novels contain elements of romance as well. Elements of romance include these:
—Powerful love. Heart stirring, often sudden, emotions create a life or death commitment. Many times this love is the first the character has felt with this overwhelming power.
—Uncertainty of reciprocation. What is the beloved thinking? Is the lover s love returned or not?
—Unreturned love. Someone loves in vain (at least temporarily). Later, the love may be returned.
—Tension between true love and father s control, disapproval, or choice. Most often, the father of the woman disapproves of the man she loves.
—Lovers parted. Some obstacle arises and separates the lovers, geographically or in some other way. One of the lovers is banished, arrested, forced to flee, locked in a dungeon, or sometimes, disappears without explanation. Or, an explanation may be given (by the person opposing the lovers being together) that later turns out to be false.
—Illicit love or lust threatens the virtuous one. The young woman becomes a target of some evil man s desires and schemes.
— Rival lovers or multiple suitors. One of the lovers (or even both) can have more than one person vying for affection.
Works Cited Harris, Robert. ‘’Elements of the Gothic Novel’’ VirtualSalt , November 22, 2017, https://www.virtualsalt.com/gothic.htm.
المادة المعروضة اعلاه هي مدخل الى المحاضرة المرفوعة بواسطة استاذ(ة) المادة . وقد تبدو لك غير متكاملة . حيث يضع استاذ المادة في بعض الاحيان فقط الجزء الاول من المحاضرة من اجل الاطلاع على ما ستقوم بتحميله لاحقا . في نظام التعليم الالكتروني نوفر هذه الخدمة لكي نبقيك على اطلاع حول محتوى الملف الذي ستقوم بتحميله .
ارجوع الى لوحة التحكم
|