{"id":164,"date":"2022-07-15T04:09:52","date_gmt":"2022-07-15T08:09:52","guid":{"rendered":"https:\/\/pressbooks.library.ryerson.ca\/gcm802p2022\/?post_type=chapter&p=164"},"modified":"2022-07-15T12:16:12","modified_gmt":"2022-07-15T16:16:12","slug":"of-mystery-and-horror-gothic-literature","status":"publish","type":"chapter","link":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/chapter\/of-mystery-and-horror-gothic-literature\/","title":{"raw":"Of Mystery and Horror: Gothic Literature","rendered":"Of Mystery and Horror: Gothic Literature"},"content":{"raw":"

Overview of the Gothic<\/h1>\r\n\"Still-life<\/a>\r\n\r\nW<\/span>hen many think of Gothic literature, it is assumed that it is a horror story taking place in an antique space. However, that is not always the case. Although its key characteristics are of mystery, terror, and death, Gothic literature does not exist solely to scare its audience. It is more so an aesthetic that categorizes varying arts, whether that is literature, paintings, or architecture (Hogle, 2002, pp. 1, 16).\r\n\r\nIn fact, the term \u2018Gothic\u2019 originates from the same namesake of medieval architectural style (Editors of Britannica, 2020; Hogle, 2002, p. 16). Evident in European castles and monasteries, these buildings later become notable settings and motifs within Gothic literature (Editors of Britannica, 2020). At the same time, the Gothic novel coincides with the Romantic era, that of which opposed the values and aesthetics of Neoclassic order and rationality (Editors of Britannica, 2020; 2021).\r\n\r\nWell-known Gothic literature includes Bram Stoker\u2019s Dracula, Charlotte Bront\u00eb\u2019s Jane Eyre, and Edgar Allan Poe\u2019s \u201cThe Fall of the House of Usher.\u201d However, many attribute the first Gothic novel to Horace Walpole\u2019s The Castle of Otranto where an introduction by Henry Morley (2021) quotes Walpole who states his inspiration as \u201c\u2018a very natural dream for a head like [Walpole\u2019s], filled with Gothic story\u2019\u201d (Editors of Britannica, 2020; para. 5). Regardless of however old this literary aesthetic may be, Gothic works are still loved as are its themes and elements that continue to be prevalent in today\u2019s literature.\r\n

What Makes Literature \u201cGothic?\u201d<\/h1>\r\nD<\/span>efining Gothic as an aesthetic is an important step to understanding the literature associated with it because the genres that afterwards define them are distinctly different. The elements previously mentioned are some\u2014but not all\u2014of the qualities that will lead to literature being called Gothic. It is the implementation and purpose of these elements and the direction of the narrative that defines the genre(s) of that literary work. However, this will be further explained in the subsequent section. To begin, the literary characteristics and elements of Gothic literature must be outlined.\r\n\r\nTo reiterate, Gothic literature is defined by mystery and fear where there are often themes of death (sometimes macabre), the supernatural, confinement, and isolation (\u201cWhat is the Gothic?\u201d, 2021). Due to the overlap with Romanticism, Gothic literature places significance on the irrational and emotional where the former manifests itself in the supernatural, fantastic, and uncanny, or \u201cothered<\/em> beings\u201d (Editors of Britannica, 2021; \u201cGothic,\u201d n.d.; Hogle, 2002, p. 6). Common examples of this include ghosts, demons, monsters, and even madwomen or men (Hogle, 2002, p. 2; \u201cGothic,\u201d n.d.). \u201cOtherness\u201d or \u201cothered\u201d beings are not a concept isolated to Gothic literature, but they can be related to the Gothic concept of the \u201csublime.\u201d Hogle (2002) explains this\u2014with the help of Horace Walpole\u2019s (1996) preface of the original Otranto<\/em>, and Edmund Burke (1990) as cited in Gothic Documents\u2014<\/em>as a dichotomy between \u201cconstrain[ed] reactions and behaviour\u201d against a \u201cthreat of \u2018death\u2019 and the dissolution of the self\u201d from the \u201csublime\u201d or its implication (p. 14\u201315). By this definition, Gothic literature is indicated as not equal to horror because the purpose is not to frighten the reader.\r\n\r\n[caption id=\"attachment_170\" align=\"alignleft\" width=\"230\"]\"Ghostly<\/a> The dichotomy between the past and the present.[\/caption]\r\n\r\nMany of these stories take place in antique spaces such as castles or large houses; however, the suggestion of space being antique also applies (Hogle, 2002, p. 2). Hogle (2002) notes that \u201csome new recreation of an older venue, such as an office with old filing cabinets, an overworked spaceship, or a computer memory\u201d can also be considered Gothic settings (p. 2). Beyond establishing world-building, mood, and atmosphere, these places all hold a commonality in being a motif. The foreboding and often decaying settings are themselves links to the past or what is repressed (\u201cGothic,\u201d n.d.; Hogle, 2002, pp. 2\u20133). Ergo, they allow for the opportunity of an intimate experience with the irrational originating from the familiar. The aforementioned \u201csublime\u201d then allows for the past to \u201chaunt characters, psychologically, physically, or otherwise\u201d (Hogle, 2002, p. 2).\r\n\r\nAn example of this can be found in Bram Stoker\u2019s Dracula<\/em>, which not only takes place in a castle but its titular character is a supernatural disguised as \u2018natural.\u2019 Dracula is described as a seemingly normal man until Jonathan Harker notices his \u201crather cruel-looking\u201d mouth \u201cwith peculiarly sharp white teeth\u201d (Stoker, Chapter II, para. 20). Dracula thereby crosses a boundary between a \u2018natural\u2019 human into the \u201csublime.\u201d Hogel (2002) describes this crossing as the \u201cterror Gothic\u201d that establishes an \u201canxious suspense\u201d through \u201cthreats [\u2026] kept largely out of sight\u201d (p. 3). Interestingly, the way the \u201cterror Gothic\u201d is employed within Dracula<\/em> leads to Hogel\u2019s (2002) description of what else can occur when the boundary is crossed: the \u201chorror Gothic\u201d\u2014this term is different from horror as a genre\u2014 \u201cconfronts characters with the gross violence of physical or psychological dissolution, explicitly shattering the assumed norms\u201d (including the repressions) of everyday life\u201d (p. 3). It is, again, suspense created by the implication that there is abnormality or irrationality in what should be familiar.\r\n

\u201cThe castle is a veritable prison, and I am a prisoner!\u201d \u2014 Bram Stoker, Dracula<\/em>, Chapter II, para. 58.<\/p>\r\nBeing aware of these varying elements and literary devices ultimately allows a reader to identify if literature is of Gothic nature. Ultimately, what makes literature Gothic perhaps points towards how there is an overarching intention and potential for \u201cimagination that [goes] beyond rational causes\u201d (Clery, 2002, p. 23).","rendered":"

Overview of the Gothic<\/h1>\n

\"Still-life<\/a><\/p>\n

W<\/span>hen many think of Gothic literature, it is assumed that it is a horror story taking place in an antique space. However, that is not always the case. Although its key characteristics are of mystery, terror, and death, Gothic literature does not exist solely to scare its audience. It is more so an aesthetic that categorizes varying arts, whether that is literature, paintings, or architecture (Hogle, 2002, pp. 1, 16).<\/p>\n

In fact, the term \u2018Gothic\u2019 originates from the same namesake of medieval architectural style (Editors of Britannica, 2020; Hogle, 2002, p. 16). Evident in European castles and monasteries, these buildings later become notable settings and motifs within Gothic literature (Editors of Britannica, 2020). At the same time, the Gothic novel coincides with the Romantic era, that of which opposed the values and aesthetics of Neoclassic order and rationality (Editors of Britannica, 2020; 2021).<\/p>\n

Well-known Gothic literature includes Bram Stoker\u2019s Dracula, Charlotte Bront\u00eb\u2019s Jane Eyre, and Edgar Allan Poe\u2019s \u201cThe Fall of the House of Usher.\u201d However, many attribute the first Gothic novel to Horace Walpole\u2019s The Castle of Otranto where an introduction by Henry Morley (2021) quotes Walpole who states his inspiration as \u201c\u2018a very natural dream for a head like [Walpole\u2019s], filled with Gothic story\u2019\u201d (Editors of Britannica, 2020; para. 5). Regardless of however old this literary aesthetic may be, Gothic works are still loved as are its themes and elements that continue to be prevalent in today\u2019s literature.<\/p>\n

What Makes Literature \u201cGothic?\u201d<\/h1>\n

D<\/span>efining Gothic as an aesthetic is an important step to understanding the literature associated with it because the genres that afterwards define them are distinctly different. The elements previously mentioned are some\u2014but not all\u2014of the qualities that will lead to literature being called Gothic. It is the implementation and purpose of these elements and the direction of the narrative that defines the genre(s) of that literary work. However, this will be further explained in the subsequent section. To begin, the literary characteristics and elements of Gothic literature must be outlined.<\/p>\n

To reiterate, Gothic literature is defined by mystery and fear where there are often themes of death (sometimes macabre), the supernatural, confinement, and isolation (\u201cWhat is the Gothic?\u201d, 2021). Due to the overlap with Romanticism, Gothic literature places significance on the irrational and emotional where the former manifests itself in the supernatural, fantastic, and uncanny, or \u201cothered<\/em> beings\u201d (Editors of Britannica, 2021; \u201cGothic,\u201d n.d.; Hogle, 2002, p. 6). Common examples of this include ghosts, demons, monsters, and even madwomen or men (Hogle, 2002, p. 2; \u201cGothic,\u201d n.d.). \u201cOtherness\u201d or \u201cothered\u201d beings are not a concept isolated to Gothic literature, but they can be related to the Gothic concept of the \u201csublime.\u201d Hogle (2002) explains this\u2014with the help of Horace Walpole\u2019s (1996) preface of the original Otranto<\/em>, and Edmund Burke (1990) as cited in Gothic Documents\u2014<\/em>as a dichotomy between \u201cconstrain[ed] reactions and behaviour\u201d against a \u201cthreat of \u2018death\u2019 and the dissolution of the self\u201d from the \u201csublime\u201d or its implication (p. 14\u201315). By this definition, Gothic literature is indicated as not equal to horror because the purpose is not to frighten the reader.<\/p>\n

\"Ghostly<\/a>
The dichotomy between the past and the present.<\/figcaption><\/figure>\n

Many of these stories take place in antique spaces such as castles or large houses; however, the suggestion of space being antique also applies (Hogle, 2002, p. 2). Hogle (2002) notes that \u201csome new recreation of an older venue, such as an office with old filing cabinets, an overworked spaceship, or a computer memory\u201d can also be considered Gothic settings (p. 2). Beyond establishing world-building, mood, and atmosphere, these places all hold a commonality in being a motif. The foreboding and often decaying settings are themselves links to the past or what is repressed (\u201cGothic,\u201d n.d.; Hogle, 2002, pp. 2\u20133). Ergo, they allow for the opportunity of an intimate experience with the irrational originating from the familiar. The aforementioned \u201csublime\u201d then allows for the past to \u201chaunt characters, psychologically, physically, or otherwise\u201d (Hogle, 2002, p. 2).<\/p>\n

An example of this can be found in Bram Stoker\u2019s Dracula<\/em>, which not only takes place in a castle but its titular character is a supernatural disguised as \u2018natural.\u2019 Dracula is described as a seemingly normal man until Jonathan Harker notices his \u201crather cruel-looking\u201d mouth \u201cwith peculiarly sharp white teeth\u201d (Stoker, Chapter II, para. 20). Dracula thereby crosses a boundary between a \u2018natural\u2019 human into the \u201csublime.\u201d Hogel (2002) describes this crossing as the \u201cterror Gothic\u201d that establishes an \u201canxious suspense\u201d through \u201cthreats [\u2026] kept largely out of sight\u201d (p. 3). Interestingly, the way the \u201cterror Gothic\u201d is employed within Dracula<\/em> leads to Hogel\u2019s (2002) description of what else can occur when the boundary is crossed: the \u201chorror Gothic\u201d\u2014this term is different from horror as a genre\u2014 \u201cconfronts characters with the gross violence of physical or psychological dissolution, explicitly shattering the assumed norms\u201d (including the repressions) of everyday life\u201d (p. 3). It is, again, suspense created by the implication that there is abnormality or irrationality in what should be familiar.<\/p>\n

\u201cThe castle is a veritable prison, and I am a prisoner!\u201d \u2014 Bram Stoker, Dracula<\/em>, Chapter II, para. 58.<\/p>\n

Being aware of these varying elements and literary devices ultimately allows a reader to identify if literature is of Gothic nature. Ultimately, what makes literature Gothic perhaps points towards how there is an overarching intention and potential for \u201cimagination that [goes] beyond rational causes\u201d (Clery, 2002, p. 23).<\/p>\n","protected":false},"author":455,"menu_order":11,"template":"","meta":{"pb_show_title":"on","pb_short_title":"What Makes Literature \u201cGothic?\u201d","pb_subtitle":"","pb_authors":["samanthavillamor"],"pb_section_license":""},"chapter-type":[49],"contributor":[66],"license":[],"class_list":["post-164","chapter","type-chapter","status-publish","hentry","chapter-type-numberless","contributor-samanthavillamor"],"part":3,"_links":{"self":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/pressbooks\/v2\/chapters\/164","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/wp\/v2\/users\/455"}],"version-history":[{"count":18,"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/pressbooks\/v2\/chapters\/164\/revisions"}],"predecessor-version":[{"id":223,"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/pressbooks\/v2\/chapters\/164\/revisions\/223"}],"part":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/pressbooks\/v2\/chapters\/164\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/wp\/v2\/media?parent=164"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/pressbooks\/v2\/chapter-type?post=164"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/wp\/v2\/contributor?post=164"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.library.torontomu.ca\/gcm802p2022\/wp-json\/wp\/v2\/license?post=164"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}