The depiction of women in gothic fiction is often hostile, mysterious and oppressed in order to subdue the power that is associated with femininity. The captivity of the feminine in these gothic stories is overshadowed by the fear of their potential to undermine and expose the depravity of man. Charles Perrault’s, Blue beard, demonstrates fear towards the power of feminine curiosity and the consequences of allowing inquisitiveness. In Edgar Allan Poe’s, The Fall of the House of Usher, the death of women also represents the power to annihilate an entire lineage of family and in a broader sense, female capability of reproduction and controlling the continuation of man. These gothic fictions often present women as ghostly and mysterious to reflect …show more content…
Feminine curiosity is one of the main rationales used to explain why women are imprisoned and oppressed throughout gothic fiction. This fear is driven by what these women may expose as a result of their curiosity and how that affects the status of man. Perrault’s, Blue beard, focuses on the consequence of female prying and how it is always man who will be negatively affected if women are free to inquire and explore with no repercussions. Firstly, it is man’s integrity that is exposed and excoriated by this temptation of the woman to uncover what is behind the door. Revealing the true nature of Blue beard’s character as a murderer he is tainted, similar to the key which she could “never make quite clean again” (Perrault 3), reflecting the power of women to disgrace man to the point of no return. This potential vulnerability, as a result female curiosity, incites the threat and imprisonment of women in much gothic fiction and observes reason to fear the feminine. Secondly, the switch of the characters’ …show more content…
The ability of women to carry children gives them an aspect of control over the continuation of humanity in gothic stories which is explored throughout Edgar Allen Poe’s, The Fall of the House of Usher. Roderick Usher’s deteriorating mental health can be considered a result of his twin sister, Lady Madeline’s, impending death. Due to their inferred incestuous relationship, Usher’s family lineage is dependent upon a child conceived by himself and Lady Madeline which is pointed out by Roderick himself that her death “would leave him the last of the ancient race of the Usher’s” (Poe 4). The power of Lady Madeline’s death in the cessation of the Usher house is reflected in the immediate decline of Usher’s mental condition, as it is recognised that immediately after her decease “the luminousness of his eye had utterly gone out” (Poe 8). A woman’s role in humanity as the carrier of children and birth giver is a significant power that underlines many tales of gothic fiction and is seen as a force that must be controlled. The fear of loss, not only of Lady Madeline but of the Usher house in its entirety, reflects the substantial power of the feminine. The consequent entombment of Usher’s sister can be seen as a result of Roderick’s angst and attempt to ignore the repercussions of her death. The oppression of women in gothic stories is in the
Written in 1818, the latter stages of the Gothic literature movement, at face value this novel embodies all the key characteristics of the Gothic genre. It features the supernatural, ghosts and an atmosphere of horror and mystery. However a closer reading of the novel presents a multifaceted tale that explores
The women in both Hardy’s Tess of the D’Urbervilles and Conrad’s Heart of Darkness are seemingly presented with traditional feminine qualities of inferiority, weakness and sexual objectification. However, the power that they hold in male-female relationships, and their embodiment of traditional male roles, contests the chauvinistic views of society during Conrad and Hardy’s era. While Conrad presents powerful female characters through their influences over men, the reversal of traditional gender roles is exemplified more by Hardy’s character, Tess, yet both authors present revolutionary ideas of feminism, and enlighten readers to challenge the patriarchal views of society towards women.
This description creates a conflicting idea of her, on one hand there is this fascinating, beautiful and innocent woman, yet on the other hand there is this figure with gothic qualities and frightening “wild” eyes referring to nature. This is comparable to Catherine, “A wild, wick slip she was—but she had the bonniest eye, the sweetest smile, and the lightest foot in the parish.” (Chapter V, page42)
Bram Stoker and Sheridan Le Fanu’s texts, Dracula (1898) and “Carmilla” (1872), use gothic tropes in similar ways to captivate readers with horror and terror. This essay will illustrate how, in comparison, both texts include gothic tropes: the New Woman, sexuality and setting, in order to provoke emotions and reactions from the readers. To achieve this, this essay will focus on the women that challenge traditional gender roles and stereotypes, and deconstruct each text in regards to the very strong undertones of homosexuality; specifically between Carmilla and Laura, and Dracula and Harker. By discussing the harshness and darkness of the environments described, including ruined castles and isolated landscapes; this essay will also explore the
Word by word, gothic literature is bound to be an immaculate read. Examining this genre for what it is could be essential to understanding it. “Gothic” is relating to the extinct East Germanic language, people of which known as the Goths. “Literature” is defined as a written work, usually with lasting “artistic merit.” Together, gothic literature combines the use of horror, death, and sometimes romance. Edgar Allan Poe, often honored with being called the king of horror and gothic poetry, published “The Fall of House Usher” in September of 1839. This story, along with many other works produced by Poe, is a classic in gothic literature. In paragraph nine in this story, one of our main characters by the name of Roderick Usher,
Anneloes Dusoswa-Hensen. (2011 July). Breaking the Bluebeard-myth: reception and revision of the Bluebeard-tale from ancient to modern times
Edgar Allen Poe’s short story, “The Fall of the House of Usher”, sets a tone that is dark, gloomy, and threatening. His inclusion of highly descriptive words and various forms of figurative language enhance the story’s evil nature, giving the house and its inhabitants eerie and “supernatural” qualities. Poe’s effective use of personification, symbolism, foreshadowing, and doubling create a morbid tale leading to, and ultimately causing, the fall of (the house of) Usher.
In conclusion to this essay, having examined these 19th century gothic texts, it is fair to say that normative gender behaviour and sexuality pervades them. This element gives the reader a deep insight into the culture context of the time in which these stories are situated. It enables the reader to delve into the darker sides of humanity at that time, that they would not have been able to do otherwise.
Towards the middle of the story, Usher’s twin sister Madeline is shown to be sick and close to giving into the “prostrating power of her destroyer” (21). Eventually, Usher gives the narrator the bad news that Madeline has passed away and immediately be placed in the family burial vault until proper arrangements can be done. Later, it is revealed that Madeleine had been buried alive and Usher knew exactly what he had done. When the narrator confronted him about what he did to Madeline, Usher simply replied with “Not hear it - yes, I hear it, and have heard it. Long--long--long--many minutes, many hours, many days, have i heard it -- yet I dared not speak...” (28). This abnormal response gives insight into how much of Usher’s thoughts control him; he let his twin sister remain in a coffin buried alive and did absolutely nothing to save her. Poe attacks how vulnerable individuals become to their own minds and forces the readers to consider the downside of the Human Condition. Although not on such intense level as Usher, people let their thoughts define who they are and what they do. Insecurity, a problem among several teenagers and even adults, begins with the person’s thoughts and self-esteem. Due to insecurity, many believe they aren’t capable of doing what they love and that they should stick doing what their mind is convincing them to.
Therefore, it is my belief that the religious setting of this novel in the Puritan society allowed further emphasis of the profound differences between the character’s gender roles, thereby creating deeper contrast and revealing the flaws of the Puritan’s preconceived notions of patriarchal societal norms.
The subjugation of women is a key theme across my three chosen texts, Othello, The Great Gatsby and Wuthering Heights, that is presented both subtly and obviously through forms of physical, sexual and mental denegation. As a subtler example of subjugation, each woman is ultimately controlled and manipulated by a male figure, whether it be through Othello’s suppression of Desdemona upon believing she is unfaithful, Heathcliff’s domination over Isabella or Tom Buchanan’s economic control of Daisy via his financial stability within a class defined society. This confirms Evelyn Cunningham’s perception that, “Women are the only oppressed group in our society that lives in intimate association with their oppressors”, notably in the way that women’s roles are dictated and restricted by the domineering, patriarchal men in their lives, however there are still aspects of female rebellion in each of the texts.
The role of female characters in literature has gone through many transformations and radical changes. Until recently, women were often perceived as the other sex by many cultures. The remains can still be witnessed is several societies around the world. This notion obviously enabled the same view to thrive in literature. In epic fantasy, women can rarely stand alone. Many female characters’ purpose in the genre consists of the beautiful prize for the hero, the nurturing caregiver, or the villain itself. Many of the most popular epic fantasy novels seldom break away from that convention. Philip Pullman created His Dark Materials and inevitably put a new spin to females in epic fantasy. Not only did Pullman write one of the two main protagonists female, he created a noteworthy female villain as well. Pullman’s His Dark Materials not only challenges female norms in epic fantasy by creating Mrs. Coulter as a multi-faceted powerful woman and Lyra as a more modern embodiment of Eve, the trilogy manages to reimagine the role of women since the biblical period.
In Edgar Allan Poe’s short story, “The Fall of the House of Usher,” exhibits an accurate representation of the Gothic genre. Edgar Allan Poe’s work presents itself as mystifying because of the way he is able to confuse and muddy up the concepts to his readers. Poe incorporates the disappearance and reappearance action of the characters throughout the short story as well as an eerie feeling to represent the Gothic genre. Poe also uses the literary device, Gothic double. However, critics of Poe’s work have considered that some of his short stories are a parody of the Gothic genre. They are both equally represented throughout the short story. Furthermore, “The Fall of the House of Usher” is a the best of both worlds.
A Patriarchal society is the social construction of male authority over women in an attempt direct their behaviour. In Tess of the d’Urbervilles, Thomas Hardy presents a story of suffering and pain caused primarily by the men in the novel. Hardy’s bitter critique, mocks the Christian ideals of Victorian thinking (1) which brings about Tess’ demise, a once “innocent country girl”. Similarly, in Perfume: The Story of a Murderer, Patrick Süskind portrays Grenouille, a child of the gutter who is brought up and dies in hate through social condemnation.
The Fall Of The House of Usher is a terrifying tale of the demise of the Usher family, whose inevitable doom is mirrored in the diseased and evil aura of the house and grounds. Poe uses elements of the gothic tale to create an atmosphere of terror. The decaying house is a metaphor for Roderick Usher’s mind, as well as his family line. The dreary landscape also reflects his personality. Poe also uses play on words to engage the reader to make predictions, or provide information. Poe has also set the story up to be intentionally ambiguous so that the reader is continually suspended between the real and the fantastic.