Romantic and Gothic Genres

Romanticism Late 18th to mid 19th Century movement in literature, arts, philosophy, politics Rejects “precepts of order, calm, harmony, balance, idealization, and rationality that typified Classicism in general and late 18th-century Neoclassicism in particular” (“Romanticism”) The Neoclassic period valued reason, formal rules, and demanded order in beauty.

Romanticism Revolt against restrictions of aristocratic ideas of 18th cent. Emphasized imagination, emotion Language of everyday people Idealized nature and “natural” lifestyles (farmers, shepherds); pastoral settings

Romanticism (Reaction to industrialization and urbanization)—Literary settings became more exotic Inspired by medieval ballads, courtly tales (knights/damsels), and supernatural Believed in the importance of the individual: daring, rebellious, and free to express emotions. Poets experimented with rhyme, meter, and subject

Romaticism Interest in human rights Sentimentality Melancholy Interest in the gothic

Romanticism William Wordsworth Samuel Taylor Coleridge Lord Byron (George Gordon) John Keats Percy Bysshe Shelley Mary Shelley Emily Bronte Charlotte Bronte Jane Austen Victor Hugo Paul Verlaine Charles Baudelaire

Romanticism Victor Hugo called Romanticism “liberalism in literature.” It freed the artist and writer from restraints and rules. Walter Pater thought the addition of strangeness to beauty defined the Romantic movement. A current definition: a psychological desire to escape from unpleasant realities.

Gothic Literature “A genre that creates terror and suspense, usually set in an isolated castle, mansion, or monastery populated by mysterious or threatening individuals” (Kennedy and Gioia, G15).

Gothic Literature Developed as a genre in 18th century Devoted to tales of horror, the darker, supernatural forces English Gothic form originated with Horace Walpole’s novel The Castle of Otranto (1764).

Gothic Literature Derives its name from similarities to medieval Gothic architecture Also derives name from a barbaric Germanic tribe, the Goths Gothic literature derives its name from its similarities to the Gothic medieval cathedrals, which feature a majestic, unrestrained architectural style with often savage or grotesque ornamentation (the word "Gothic" derives from "Goth," the name of one of the barbaric Germanic tribes that invaded the Roman Empire).

Gothic Architecture Majestic, unrestrained architectural style Savage, often grotesque ornamentation

Gothic Architecture “Gothic architecture used pointed arches and vaults, flying buttresses, narrow spires, stained glass windows, intricate traceries, and varied details; its upward movement was meant to suggest heavenward aspiration” (Melani)

Gothic Architecture Vaulting arches The vaulting arches and spires of Gothic cathedrals reach wildly to the sky as if the builders were trying to grasp the heavens…

Gothic Architecture Spires reaching to the heavens The architecture evokes the sense of humanity’s division between a finite, physical identity and the often terrifying and bizarre forces of the infinite

Gothic Architecture Wild carvings depicting humanity in conflict with supernatural forces The cathedrals are covered with a profusion of wild carvings depicting humanity in conflict with supernatural forces—demons, angels, gargoyles, and monsters (Gargoyles from Notre Dame de Paris)

Gothic Architecture Adam and Eve with the serpent  Image: Adam and Eve with serpent

Gothic Architecture Saints, Notre Dame, Paris  Carved image 1: Saints of Notre Dame, Paris The Gothic aesthetic also embodies an ambition to transcend earthly human limitations and reach the divine.

Gothic Architecture Saints, Notre Dame, Paris  Carved image 2: Saints of Notre Dame, Paris

Gothic Architecture in Literature “[exploiting] claustrophobic interior architecture… dungeons, crypts, torture chambers, locked rooms, and secret passageways” (Kennedy and Gioia, G15)

Gothic Architecture & Literature Focuses on humanity’s fascination with the grotesque, the unknown, and the frightening, inexplicable aspects of the universe and the human soul. Portrays human individuals in confrontation with the overwhelming, mysterious, terrifying forces found in the cosmos and within themselves. Pictures the human condition as an ambiguous mixture of good and evil powers that cannot be understood completely by human reason. Connections b/w arch. & lit.

Gothic Literature The human condition as a paradox—humans are divided in the conflict between opposing forces in the world and in themselves. Human nature’s depravity, the struggle between good and evil in the human soul, and the existence of unexplainable elements in humanity and the cosmos are prominent themes in Frankenstein.

Motifs in Gothic Literature A motif is a repeated theme, image, or literary device. Look for these common supernatural/Gothic motifs in Frankenstein. Doppleganger Forbidden Knowledge (Faust Motif) Satanic Hero Multiple Narrative Dreams and Visions Signs and Omens A motif is a repeated theme, image, or literary device. Like Gothic architecture, Gothic literature focuses on humanity’s fascination with the grotesque, the unknown, and the frightening, inexplicable aspects of the universe and the human soul. The Gothic "relates the individual to the infinite universe" (Varma 16) and creates horror by portraying human individuals in confrontation with the overwhelming, mysterious, terrifying forces found in the cosmos and within themselves. Gothic literature pictures the human condition as an ambiguous mixture of good and evil powers that cannot be understood completely by human reason. Thus, the Gothic perspective conceives of the human condition as a paradox, a dilemma of duality—humans are divided in the conflict between opposing forces in the world and in themselves. The Gothic themes of human nature’s depravity, the struggle between good and evil in the human soul, and the existence of unexplainable elements in humanity and the cosmos, are prominent themes in the works we will study. Look for these common supernatural/Gothic motifs in these works. Work cited: Devendra P. Varma, The Gothic Flame

The Doppelganger A second self or alternate identity Represents opposing forces in human nature Suggests humans have a double nature The Double or Doppelganger (German for "double-goer"): defined by Frederick S. Frank as "a second self or alternate identity, sometimes, but not always, a physical twin. The Doppelganger in demonic form can be a reciprocal or lower bestial self or a Mr. Hyde. Gothic doppelgangers often haunt and threaten the rational psyche of the victim to whom they become attached" (435). The double motif involves a comparison or contrast between two characters or sets of characters within a work to represent opposing forces in human nature. For example, Dr. Jekyll and his evil double Mr. Hyde are contrasted to represent the battle between the rational, intellectual self (Jekyll) and the irrational, bestial self (Hyde). The double motif suggests that humans are burdened with a dual nature, a soul forever divided. Double characters are often paired in common relationships, such as twins, siblings, husband/wife, parent/child, hero/villain, creator/creature, etc. Work cited: Frank, Frederick S. The First Gothics: A Critical Guide to the English Gothic Novel.         New York: Garland Publishing, 1987

The Faust Motif: Forbidden Knowledge or Power Hero attempts to control supernatural powers Ambition leads to fall Forbidden Knowledge or Power/ Faust Motif: forbidden knowledge/power is often the Gothic protagonist’s goal. The Gothic "hero" questions the universe’s ambiguous nature and tries to comprehend and control those supernatural powers that mortals cannot understand. He tries to overcome human limitations and make himself into a "god." This ambition usually leads to the hero’s "fall" or destruction; however, Gothic tales of ambition sometimes paradoxically evoke our admiration because they picture individuals with the courage to defy fate and cosmic forces in an attempt to transcend the mundane to the eternal and sublime. Dr. Faustus makes a deal with the Devil 

Monster/ Satanic Hero/ Fallen Man Fallen Hero becomes a Monster Or, confronts a monster who is his double Like Satan, he defies the rules of God’s universe Monster/Satanic Hero/Fallen Man: the courageous search for forbidden knowledge or power always leads the hero to a fall, a corruption, or destruction, such as Satan’s or Adam’s fall. Consequently, the hero in Gothic literature is often a "villain." The hero is isolated from others by his fall and either becomes a monster or confronts a monster who is his double. He becomes a "Satanic hero" if, like Satan, he has courageously defied the rules of God’s universe and has tried to transform himself into a god. Note: the mad scientist, who tries to transcend human limitations through science, is a type of Satanic hero that is popular in Gothic literature (examples include Dr. Jekyll and Frankenstein). Frankenstein’s Monster 

Multiple Narrative Series of secret manuscripts or multiple tales Narrative spirals inward to hidden truth Narrator compelled to speak to captive listener Multiple Narrative/Spiral Narrative Method: the story is frequently told through a series of secret manuscripts or multiple tales, each revealing a deeper secret, so the narrative gradually spirals inward toward the hidden truth. The narrator is often a first-person narrator compelled to tell the story to a fascinated or captive listener (representing the captivating power of forbidden knowledge). By revealing to us their own souls’ secrets, these narrators reveal the secrets of humankind’s soul. The Ancient Mariner tells his tale 

Dreams / Visions Reveal hidden truths of the unconscious mind The hidden knowledge of the universe and of human nature emerges through dreams because, when the person sleeps, reason sleeps, and the supernatural, unreasonable world can break through. Dreams/Visions: terrible truths are often revealed to characters through dreams or visions. The hidden knowledge of the universe and of human nature emerges through dreams because, when the person sleeps, reason sleeps, and the supernatural, unreasonable world can break through. Dreams in Gothic literature express the dark, unconscious depths of the psyche that are repressed by reason—truths that are too terrible to be comprehended by the conscious mind.

Signs / Omens Reveal intention of cosmic forces Often represent psychological or spiritual conflict Signs/Omens: reveal the intervention of cosmic forces and often represent psychological or spiritual conflict (e.g., flashes of lightning and violent storms might parallel some turmoil within a character’s mind)

Other Gothic Motifs Incest and sexual perversion Blood Madness Haunted Castle or House Graveyards/Churches/ Ruins Murder Demons/Devils/Witches/ Angels Incest and sexual perversion Value reversals Mistaken/secret identities Dichotomies Innocence victimized by evil Magic Talismans Other Motifs: Blood: a prominent symbol in Gothic works often intimating the paradox of the human condition; blood can represent both life and death, or both guilt (e.g., murder) and innocence (e.g., redemptive blood). Madness/Madmen/Characters Who Question Their Own Sanity: suggest humanity’s encounter with the fantastic side of existence that defies human reason. Because mad characters are in touch with a deeper reality beyond rational comprehension, they often speak the truths that normal characters wish to deny. Madmen face universal or psychic forces that rational men fear to acknowledge. Haunted Castle/House: the hero’s castle or home can reflect the hero’s psychological character. Hidden chambers, subterranean vaults, twisting corridors, and secret passages can symbolize the hidden depths of the mind, unknown aspects of the psyche that are beyond rational control Graveyards/Churches/Ruins: such settings suggest human confrontation with infinite forces (death, spirits, time, etc.). murder, innocence victimized by evil, incest, sexual perversion, reversal of values, the Wanderer, the Outcast, mistaken or secret identities, dichotomies (attraction/repulsion, life/death, innocence/evil, nobility/corruption, etc.). Demons/Devils/Witches/Spirits/Angels: often symbolize conflicting forces within the human soul. The hero may be tempted by evil spirits or redeemed by good spirits that symbolize the hero’s own potential for evil or good Magic Talismans/Cursed or Blessed Objects/Holy Relics: magic talismans may represent supernatural forces or forces within the hero’s personality (e.g., King Arthur’s magic sword Excalibur symbolizes the King’s power and goodness; it’s a symbol of order and civilization). Cursed and blessed objects can also act symbols of human duality. Other Motifs: murder, innocence victimized by evil, incest, sexual perversion, reversal of values, the Wanderer, the Outcast, mistaken or secret identities, dichotomies (attraction/repulsion, life/death, innocence/evil, nobility/corruption, etc.).

Works Consulted Farris, Speed. English 12 & AP Literature. Course home page. English Department, La Costa Canyon High School, San Dieguito Union High School District . 28 Aug. 2008 <http://teachers.sduhsd.k12.ca.us/sfarris/>. Path: Information Links; Romantic/Gothic Genres Powerpoint. Kennedy, X. J., and Dana Gioia, eds. Literature: An Introduction to Fiction, Poetry, and Drama. 9th ed. New York: A.B. Longman, 2005. Melani, Lelia. English 79: The Gothic Experience. Course home page. 24 Oct. 2002. Dept. of English, Brooklyn College, New York. 1 Sept. 2008 <http://academic.brooklyn.cuny.edu/english/melani/index.htm>. Path: English 79: The Gothic Experience; Gothic Defined. “Romanticism.” Encyclopedia Britannica. 2008 ed. Britannica Online. Encyclopaedia Britannica. 1 Sept. 2008 <http://britannica.com/EBchecked/topic/508675/romanticism>. “The Romantic Period.” The Norton Anthology: Norton Topics Online. Ed. Jack Stillinger and M. H. Abrams. 2008. W.W. Norton and Co. 1 Sept. 2008 <http://www.wwnorton.com/college/english/nael/romantic/welcome.htm>. Unknown. “The Gothic and the Supernatural: A Thematic Approach to Selected Literary Works.” University of Virginia Library. 31 Aug. 2008 <http://www.lib.virginia.edu/subjects/English/laptop/Materials/Gothic_Supernatural_Presentation.ppt>. NOTE: This source owes most of its ideas, content, notes and images to Prof. Shari Hodges and her course on Gothic Literature offered by the English Department, University of Mississippi; and to Franz Potter’s site on Gothic Literature: http://members.aol.com/franzpoet/intro.html