Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Romantic period history influence
Romanticism in gothic literature
Romantic period history influence
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Romantic period history influence
The Gothic elements expressed in Horace Walpole’s The Castle of Otranto were so new and controversial during the Romantic period that it caused an extreme rise in reputation amongst Romantic writers and readers, creating a ground-breaking genre that would remain popular within entertainment today. These literary elements, alongside the turning of a literary age and the unofficial fight for recognition between the Romantic and Gothic writers, were the key turning points that would maintain the Gothic’s literary form within history. By reviewing Walpole’s work, it can be seen where the Gothic genre was born and what elements from this writing has trickled down to the modern day. In the first edition of The Castle of Otranto, Walpole writes in the Preface that it was the translated work of an Italian novel found in the library of an ancient Catholic family in northern England (4). Yet, when the second edition of this work was published, Walpole had changed the preface to the story, calling it “A Gothic Story”, making it the “first” of its genre (Watt, 12). It is believed however, that “Walpole constructed the Gothic as a form of private and recreational class property, to which he was able to lay claim because of the status he had forged for himself as a licensed risk-taker” (Watt, 13). This status is mostly prominent due to the renovations he made on his estate, Strawberry Hill, in which Walpole’s interests in the Gothic led him to recreate his estate in a style incorporated with the use of towers and buttresses, making it closely resemble that of a medieval castle (Watt, 15-16). These cultural “risks” were only the beginning for Walpole, for several years after Strawberry Hill was built, Walpole released the first edition of The ... ... middle of paper ... ...stories of British Fiction, 1780-1830. Liverpool: Liverpool University Press, 2010. Ebrary. Web. 02 Mar. 2014. Lloyd Smith, Allan. American Gothic Fiction : An Introduction. New York: Continuum, 2004. eBook Collection (EBSCOhost). Web. 22 Feb. 2014. Thompson, Corey Evan. “The Locale of Melville’s Gothicism.” Papers On Language & Literature43.2 (2007): 190. MasterFILE Complete. Web. 25 Feb. 2014. Walpole, Horace. The Castle of Otranto: A Gothic Novel. [S.1.]: The Floating Press, 2009. eBook Collection (EBSCOhost). Web. 17 Feb. 2014. Watt, James. Contesting The Gothic: Fiction, Genre And Cultural Conflict, 1764-1832. Cambridge: Cambridge University Press, 1999. eBook Collection (EBSCOhost). Web. 17 Feb. 2014. Williams, Anne. Art Of Darkness : A Poetics Of Gothic. Chicago: University of Chicago Press, 1995. eBook Collection (EBSCOhost). Web. 01 Mar. 2014
Various authors develop their stories using gothic themes and characterizations of this type to lay the foundation for their desired reader response. Although Edgar Allan Poe’s “The Fall of the House of Usher” and Peter Taylor’s “Venus, Cupid, Folly and Time” are two completely different narratives, both of these stories share a commonality of gothic text representations. The stories take slightly different paths, with Poe’s signifying traditional gothic literature and Taylor approaching his story in a more contemporary manner.
I offer by way of introduction to the Gothic literary world an extract taken from Ann. B Tracy’s book The Gothic Novel 1790-1830: Plot Summaries and Index Motifs:
Gothic literature, such as The Night Circus, “The Devil and Tom Walker”, “Dr. Heidegger’s Experiment”, and “Masque of the Red Death”, are known for incorporating gothic elements such as the supernatural, death, and fascination with the past.
Gothic Literature was a natural progression from romanticism, which had existed in the 18th Century. Initially, such a ‘unique’ style of literature was met with a somewhat mixed response; although it was greeted with enthusiasm from members of the public, literary critics were much more dubious and sceptical.
In what follows, my research paper will rely on an article by Kathy Prendergast entitled “Introduction to The Gothic Tradition”. The significance of this article resides in helping to recapitulate the various features of the Gothic tradition. In this article the authoress argues that in order to overturn the Enlightenment and realistic literary mores, many of the eighteenth century novelists had recourse to traditional Romantic conventions in their works of fiction, like the Arthurian legendary tales (Prendergast).
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
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,
Tibbetts, John C. The Gothic Imagination: Conversations on Fantasy, Horror, and Science Fiction in the Media. Basingstoke: Palgrave Macmillan, 2011. Print.
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.
Ringe, Donald A. American Gothic: Imagination and Reason in Nineteenth-Century Fiction. Lexington KY: The University Press of Kentucky, 1982.
Brown’s perspective on the European fiction that, while gothic and therefore focusing on “superstition and exploded manners, gothic castles and chimeras”, merely appealed to popular taste and as such held the consensus that reading fiction was an idle pastime (Elliot, ix). Brown’s aim was to change the general consensus of fiction reading and create a genre that challenged readers to use their full intellectual capacity. He did this in Wieland through not only the dialectic, but also through allusions to the climate of the world he was living in. If we are to take Wieland as a representative for the American gothic, then the genre must achieve that goal.
The term ‘Gothic’ conjures a range of possible meanings, definitions and associations. It explicitly denotes certain historical and cultural phenomena. Gothicism was part of the Romantic Movement that started in the eighteenth century and lasted about three decades into the nineteenth century. For this essay, the definition of Gothic that is applicable is: An 18th century literary style characterized by gloom and the supernatural. In the Gothic novel Frankenstein by Mary Shelley, a wide range of issues are explored. Frankenstein represents an entirely new vision of the female Gothic, along with many other traditional themes such as religion, science, colonialism and myth.
Print. The. Mike. The Evolution of Gothic Architecture. Aquinas Multimedia.
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.
Michael Gamer, Romanticism and the Gothic: Genre, Reception, and Canon Formation (Cambridge, England: Cambridge University Press, 2000) 15, Questia, Web, 29 May 2010.