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Romance portrayed in gothic writing
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Novels, written in various styles, maintain their value because each one presents the reader with a new thought to consider. Sometimes however, rather than expanding on an entirely new style to “suggest a thought” authors borrow characteristics from other novels to express themselves. These borrowed traits are then molded into a new shape. Authors from the Romanticism era did just that. They borrowed traits from Gothic literature to express their thoughts. Although the novels are unique and valued for their distinctiveness, the borrowed traits remain a parallel between the two genres. Traits such as deterioration of characters, love combating sin, return to animalistic priorities, and alienation of human emotion are all depicted in characters in Romantic literature. These traits are the cornerstones of Gothic literature. Characters from the Romanticism era have been profoundly impacted by Gothic Literature, as is evident in the parallels that exist between Great Expectations and Wuthering Heights compared to Frankenstein and The Picture of Dorian Gray.
In Picture of Dorian Gray, Gray deteriorates mentally. Dorian Gray is a man who is content with his appearance and stability in life. He is fascinated by his collection of foreign items. This collection of foreign items paints a picture of Gray’s fall into ruin. Gray starts his collection with exotic items that are ornate and interesting to look at. They are beautiful on the outside and were harmless in history. However, as his depression escalates and his sins deepen, his collection becomes a “mix of tyrants and Renaissance revenge figures that poison their victims…” (Platizky). His collection has become a reflection of himself; it is full of violence and sin and is rife with th...
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...: 202+. Literature Resource Center. Web. 2 Mar. 2011.
Shapiro, Arnold. "Wuthering Heights as a Victorian Novel." Studies in the Novel 1.3 (Fall 1969): 284-295. Rpt. in Nineteenth-Century Literature Criticism. Ed. Jay Parini and Janet Mullane. Vol. 16. Detroit: Gale Research, 1987. Literature Resource Center. Web. 2 Mar. 2011.
Shelley, Mary. Frankenstein. 4th ed. New York, NY: Bantam Dell, Random House Inc, 2003. Print.
Snodgrass, Mary E. "Gothic Literature." Encyclopedia of Gothic Literature. New York, NY: Cataloging in Publication Data, Snodgrass, 2005. Print.
Wilde, Oscar. The Picture of Dorian Gray and Other Writings. 2nd ed. New York, NY: Bantam Dell, Random House Inc, 2005. Print.
Yousef, Nancy. "The monster in a dark room: Frankenstein, feminism, and philosophy." Modern Language Quarterly 63.2 (2002): 197+. Literature Resource Center. Web. 2 Mar. 2011.
Feminism. Ed. Anne K. Mellor. Bloomington: Indiana UP, 1988. 220-32. Rpt. in Frankenstein. Ed. J. Paul Hunter. Norton Critical Edition. New York: Norton, 1996. 274-86.
Romantic literature, as Kathy Prendergast further claims, highlighted things like splendor, greatness, vividness, expressiveness, intense feelings of passion, and stunning beauty. The Romantic literary genre favored “parts” over “whole” and “content” over “form”. The writer argues that though both the Romantic literary genre and the Gothic art mode were medieval in nature, they came to clash with what was called classical conventions. That’s why, preoccupations with such things as the supernatural, the awful, the dreadful, the repulsive and the grotesque were the exclusive focus of the nineteenth century Gothic novel. While some critics perceived the Gothic as a sub-genre of Romanticism, some others saw it as a genre in its own right (Prendergast).
Wilde, Oscar. The Picture of Dorian Gray. Michael Patrick Gillespie, Editor. Norton Critical Edition. New York: W.W. Norton & Company, Inc., 2007.
Mary Shelley’s world renowned book, “Frankenstein”, is a narrative of how Victor Frankenstein, a brilliant chemist, succeeds in creating a living being. Although Frankenstein’s creation is benevolent to begin with, he soon turns murderous after being mistreated by humans. His anger turns towards Frankenstein, as he was the one who brought him into the world that shuns him. The Monster then spends the rest of the story trying to make his creator’s life as miserable as his own. This novel is an excellent example of the Gothic Romantic style of literature, as it features some core Gothic Romantic elements such as remote and desolate settings, a metonymy of gloom and horror, and women in distress.
The blending of terror and romance in Gothic Literature was used in a unique combination to attract and entice the reader into the story. The terror in the literature helps the reader explore their imagination and form their own picture setting of what is happening. Using romance in the story also keeps the reader's attention because of the unknown and the curiosity of what happens next. The Gothic writing became popular after the Romantic period because readers were still a...
Yousef, Nancy. "The monster in a dark room: Frankenstein, feminism, and philosophy." Modern Language Quarterly 63.2 (2002): 197+. Literature Resource Center. Web. 24 Jan. 2012
Wilde, Oscar. The Picture of Dorian Gray; For Love of the King. London: Routledge/Thoemmes Press, 1993.
Romanticism played a large role in the creation of gothic literature, and it was considered to be “a lunatic fringe version of romanticism” (Tiffin). Gothic novels often had a powerful unleashing of emotions to very extreme levels “beyond social constraining” (Tiffin). The genre’s character often had an excess of a specific type (Tiffin), and in an analysis of Frankenstein and Northanger Abbey, this excess can be seen in Frankenstein’s ambition and Catherine’s curiosity.
In Oscar Wilde’s The Picture of Dorian Gray, Dorian Gray goes through the Hero’s Journey because of the challenges he had been through, the way he transformed, and his crisis.
The Picture of Dorian Gray is a rich story which can be viewed through many literary and cultural lenses. Oscar Wilde himself purposefully filled his novel with a great many direct and indirect allusions to the literary culture of his times, so it seems appropriate to look back at his story - both the novel and the 1945 film version - in this way.
In "The Picture of Dorian Gray" by Oscar Wilde, we see a beautiful young man who makes tremendous efforts to transform the actual world into the idealistic world of art, dreams and sensations. Dorian's quest, however, culminates in his ultimate tragic destruction. Given that Dorian lives a corrupt life, one is likely to focus on the negative aspects of his character. In spite of his significant character flaws, Dorian Gray may still be considered a hero. This essay will examine Dorian's degradation from the innocent world to the vicious, sensation-oriented world. The elements contributing to Dorian’s status of tragic hero will then be discussed.
Oscar Wilde`s novel The Picture of Dorian Gray is written primarily out of the aesthetic movement of the Nineteenth Century. Therefore, the text contains a profuse amount of imagery which reflects the concepts of beauty and sensory experiences. By taking the aesthetic approach, Wilde was able to revive the gothic style through grotesque imagery of the portrait and the character whose soul it represents. Wilde is not using gothic elements to shock his audiences; rather he uses the gothic to capture the hideousness of Gray`s corruptness which leaks out of the painting and into the tone of the entire text.
Wilde, Oscar, and Michael Patrick. Gillespie. The Picture of Dorian Gray: Authoritative Texts, Backgrounds, Reviews and Reactions, Criticism. New York: W. W. Norton &, 2007. Print.
The picture of Dorian Gray. The Electronic Classics Series, The Pennsylvania State University. p. 3/ Retrieved January 3, 2014 from http://www2.hn.psu.edu/faculty/jmanis/oscar-wilde/dorian-gray.pdf
Set in the late 19th Century, Oscar Wilde wrote his only novel The Picture of Dorian Gray, which is a story about debauchery and corruption of innocence and well known as a "Gothic melodrama." Violent twists and a sneaky plot make this novel a distinct reflection of human pride and corrupt nature.