1. The Gothic Novel
Literature of the supernatural often uses recurring themes, images, and symbols to envision the human condition. Watch for the following motifs in the works we will study (especially the poems of Coleridge, Byron, and Keats and Mary Shelley’s novel Frankenstein. Consider the symbolic significance of interactions between the natural and supernatural worlds in these works. How do these works explore and define human nature through reference to the supernatural?

2. GOTHIC?

3. Gothic Literature originated in 18th century
is devoted to tales of horror, dark supernatural forces and romance.
Gothic literature is devoted primarily to stories of horror, the fantastic, and the “darker” supernatural forces. These forces often represent the “dark side” of human nature—irrational or destructive desires. The painting above illustrates a scene from one of the most famous Gothic novels, Bram Stoker’s Dracula (1898). It depicts Dracula seducing a young woman to drink her blood. Monsters such as vampires in Gothic works tend to externalize our own dangerous repressed desires. Consider Frankenstein’s monster and the vampiric monster Geraldine in Coleridge’s Christabel as examples.

4. Gothic Literature
derives name from barbaric Germanic tribe, the Goths.
both the literature and architecture are noted for “savage, unrestrained, majestic style.”
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). The Gothic genre (in both literature and architecture) is therefore associated with savagery and barbarism. Above is pictured Notre Dame cathedral in France.

5. Gothic Architecture
Vaulting Arches- grasping for heavens… Dr. Frankenstein!
The vaulting arches and spires of Gothic cathedrals reach wildly to the sky as if the builders were trying to grasp the heavens, an ambition for the eternal that is likewise expressed in many works of Gothic literature (consider Manfred’s quest for supernatural power in Byron’s poem, or Frankenstein’s quest to become godlike by creating life).

6. Gothic Architecture spires reaching to the heavens
wild carvings depicting humanity in conflict with supernatural forces
The tall spires of medieval cathedrals likewise expressed the human ambition to transcend the natural world and touch the supernatural realm.

7. Eight Gothic Motifs
A motif is a repeated theme, image, or literary device. Look for these common supernatural/Gothic motifs in the Romantic works we will read.

8. The Doppelganger (Double)
A second self or alternate identity.
Represents opposing forces in human nature. Suggests humans have a dual nature
The Double or Doppelganger (German for “double-goer”): defined by Federick 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” (The First Gothics: A Critical Guide to the English Gothic Novel. New York: Garland Publishing, 1987, 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. Consider Frankenstein and his creature as doubles. The above picture is from the novel Dracula and depicts the hero Jonathan Harker shaving in front of a mirror when he is confronted by the vampire Dracula. Jonathan’s surprise causes him to cut himself, arousing Dracula’s blood lust. The characters as they stand before the mirror suggest two sides of the human soul—the civilized and the savage animal.
Dracula

9. Forbidden Knowledge or Power
Hero attempts to control supernatural powers. Ambition leads to hero’s fall.
Forbidden Knowledge or Power/ Faust Motif: This motif takes its name from the German gothic legend of Dr. Faustus, who sold his soul to the devil to obtain power and knowledge forbidden to ordinary humans. The drawing above is an illustration of Faustus making his demonic pact. 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. Consider again Manfred’s quest for supernatural power and Frankenstein quest for the secret of life.

10. Dreams/Visions reveal hidden truths of the unconscious mind
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. The picture above depicts the vampire visiting his victim in her sleep, a visitation that many scholar of Gothic literature see as the release of repressed sexual desires. Consider the dreams in Frankenstein and the fact that the novel was inspired in part by a dream (see Mary Shelley’s introduction to the novel).
Dracula visits his victim as she sleeps

11. Haunted Castle/House
Reflects hero’s mysterious, troubled psychological character
Haunted Castle/House: the protagonist’s castle or home can reflect the protagonist’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. Consider Manfred’s castle in the Alps where he practices black magic in a forbidden tower, or Frankenstein’s secret laboratory at the top of his house.

12. Blood
symbolizes paradox of human condition. represents life/death, guilt/innocence
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). The picture above depicts vampire hunters from Dracula thwarting the attack of a female vampire—her innocence and beauty are contaminated by the blood dripping down the front of her gown, evidence of her cruel animal nature. Consider references to blood in Byron’s Manfred and Mary Shelley’s Frankenstein.
The vampire’s feast thwarted

13. Graveyards/Churches/Ruins
suggest human confrontation with infinite forces
Graveyards/Churches/Ruins: such settings suggest human confrontation with infinite forces (death, spirits, time, etc.).
Whitby Churchyard from Dracula

14. Madness Reflects realities beyond rational comprehension.
Mad characters spit the truths that we wish to deny!
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. In the picture above, Coleridge’s Ancient Mariner stops passersby to tell his tale; but while he appears to be a madman, the Mariner knows the truth about the evil of which humans are capable. When mad characters speak, listen to them! Their “madness” often reveals a darker reality.
The madman compels passersby to listen

15. A n d . . .

16. The Literary Monster !
Fallen hero becomes a monster or confronts a monster who is his double
HERE’S WHERE IT GETS COOL!
Locating Monsters…
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).
Monster(s)

17. BOO!
Other motifs to watch for: 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.); the femme fatale (“fatal woman” who leads men to their doom).