Romantic and Gothic Genres

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RomanticismRomanticismDefinition:

Romanticism is a complex artistic, Romanticism is a complex artistic, literary, and intellectual movement that literary, and intellectual movement that originated in the second half of the originated in the second half of the 18th century in Western Europe, and 18th century in Western Europe, and gained strength in reaction to the gained strength in reaction to the Industrial Revolution. In part, Industrial Revolution. In part, it was a it was a revolt against aristocratic social and revolt against aristocratic social and political norms of the Age of political norms of the Age of Enlightenment and a reaction against Enlightenment and a reaction against the scientific rationalization of nature the scientific rationalization of nature (neoclassicism), and was embodied (neoclassicism), and was embodied most strongly in the visual arts, music, most strongly in the visual arts, music, and literature, but can be detected and literature, but can be detected even in changed attitudes towards even in changed attitudes towards children and educationchildren and education..

RomanticismRomanticism The movement validated The movement validated

strong emotion as an strong emotion as an authentic source of authentic source of aesthetic experience, aesthetic experience, placing new emphasis on placing new emphasis on such emotions as such emotions as trepidation, horror, trepidation, horror, terror, and aweterror, and awe——especially that which is especially that which is experienced in experienced in confronting the sublimity confronting the sublimity of untamed nature and of untamed nature and its picturesque qualities, its picturesque qualities, both new aesthetic both new aesthetic categories. categories. Caspar David Friedrich,

Wanderer above the Sea of Fog, 1818

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

RomanticismRomanticism In the U.S., romantic Gothic literature made an early In the U.S., romantic Gothic literature made an early

appearance with Washington Irving's appearance with Washington Irving's The Legend of The Legend of Sleepy HollowSleepy Hollow (1820) and (1820) and Rip Van WinkleRip Van Winkle (1819), (1819), followed by the followed by the LeatherstockingLeatherstocking Tales Tales of James Fenimore of James Fenimore Cooper, with their emphasis on heroic simplicity and Cooper, with their emphasis on heroic simplicity and their fervent landscape descriptions of an already-exotic their fervent landscape descriptions of an already-exotic mythicized frontier peopled by "mythicized frontier peopled by "noble savagesnoble savages," similar ," similar to the philosophical theory of Rousseau. to the philosophical theory of Rousseau.

Later, Transcendentalist writers such as Henry David Later, Transcendentalist writers such as Henry David Thoreau and Ralph Waldo Emerson still show elements Thoreau and Ralph Waldo Emerson still show elements of its influence and imagination, as does the romantic of its influence and imagination, as does the romantic realism of Walt Whitman. But by the 1880s, realism of Walt Whitman. But by the 1880s, psychological and social realism was competing with psychological and social realism was competing with romanticism in the novel. The poetry of Emily Dickinsonromanticism in the novel. The poetry of Emily Dickinson—nearly unread in her own time—and Herman Melville's —nearly unread in her own time—and Herman Melville's novel novel Moby-DickMoby-Dick can be taken as epitomes of American can be taken as epitomes of American Romantic literature. Romantic literature.

RomanticismRomanticismCharacteristics:Characteristics:

• The The predominance of predominance of imagination over imagination over reason and rules reason and rules • Primitivism Primitivism • Love of nature Love of nature • An interest in the An interest in the past past • Mysticism Mysticism • IndividualismIndividualism

•Enthusiasm for Enthusiasm for the wild, the wild, irregular, or irregular, or grotesque in grotesque in nature nature • Enthusiasm Enthusiasm for the for the uncivilized or uncivilized or “natural” “natural”

RomanticismRomanticismMore Characteristics:More Characteristics:• Interest in human rights Interest in human rights • SentimentalitySentimentality• Melancholy Melancholy • Interest in the Interest in the GothicGothic

Supernatural And Gothic Literary Themes

Supernatural motifs Supernatural motifs appear throughout appear throughout literature but are most literature but are most prominent in the literary prominent in the literary genre labeled "genre labeled "GothicGothic," ," which developed in the which developed in the late eighteenth-century late eighteenth-century and is devoted primarily and is devoted primarily to stories of horror, the to stories of horror, the fantastic, and the fantastic, and the "darker" supernatural "darker" supernatural forces.forces.

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

The vaulting arches and spires of Gothic The vaulting arches and spires of Gothic cathedrals reach wildly to the sky as if the cathedrals reach wildly to the sky as if the builders were trying to grasp the heavens; builders were trying to grasp the heavens; and the cathedrals are covered with a and the cathedrals are covered with a profusion of wild carvings depicting profusion of wild carvings depicting humanity in conflict with supernatural forceshumanity in conflict with supernatural forces—demons, angels, gargoyles, and monsters. —demons, angels, gargoyles, and monsters.

The architecture evokes the sense of The architecture evokes the sense of humanity’s division between a finite, humanity’s division between a finite, physical identity and the often physical identity and the often terrifying and bizarre forces of the terrifying and bizarre forces of the infinite. The Gothic aesthetic also infinite. The Gothic aesthetic also embodies an ambition to transcend embodies an ambition to transcend earthly human limitations and reach earthly human limitations and reach the divine.the divine.

Like Gothic architecture, Gothic literature focuses Like Gothic architecture, Gothic literature focuses on on humanity’s fascination with the grotesque, the humanity’s fascination with the grotesque, the unknown, and the frightening, inexplicable unknown, and the frightening, inexplicable aspects of the universe and the human soulaspects of the universe and the human soul. The . The Gothic "Gothic "relates the individual to the infinite relates the individual to the infinite universeuniverse" " (Varma, 16) (Varma, 16) and creates horror by and creates horror by portraying human individuals in confrontation portraying human individuals in confrontation with the overwhelming, mysterious, terrifying with the overwhelming, mysterious, terrifying forces found in the cosmos and within forces found in the cosmos and within themselves. Gothic literature pictures the human themselves. Gothic literature pictures the human condition as an ambiguous mixture of good and condition as an ambiguous mixture of good and evil powers that cannot be understood completely evil powers that cannot be understood completely by human reason. by human reason.

Thus, the Gothic perspective conceives of the Thus, the Gothic perspective conceives of the human condition as a human condition as a paradox, a dilemma of paradox, a dilemma of dualityduality—humans are divided in the conflict —humans are divided in the conflict between opposing forces in the world and in between opposing forces in the world and in themselves. themselves.

GothicGothic Prominent features of Gothic fiction include Prominent features of Gothic fiction include

terrorterror (both psychological and physical), (both psychological and physical), mystery, the supernatural, ghosts, haunted mystery, the supernatural, ghosts, haunted houses and Gothic architecture, castles, houses and Gothic architecture, castles, darkness, death, decay, doubles, madness, darkness, death, decay, doubles, madness, secrets, and hereditary curses.secrets, and hereditary curses.

The stock characters of Gothic fiction include The stock characters of Gothic fiction include tyrants, villains, bandits, maniacs, Byronic tyrants, villains, bandits, maniacs, Byronic heroes, persecuted maidens, femmes fatales, heroes, persecuted maidens, femmes fatales, monks, nuns, madwomen, magicians, monks, nuns, madwomen, magicians, vampires, werewolves, monsters, demons, vampires, werewolves, monsters, demons, angels, fallen angels, revenants, ghosts, angels, fallen angels, revenants, ghosts, perambulating skeletons, the Wandering Jew perambulating skeletons, the Wandering Jew (!?) and the Devil himself(!?) and the Devil himself..

Supernatural / Gothic Literary Motifs

A motif is a repeated theme,

image, or literary device. Look for these common

supernatural/Gothic motifs in Frankenstein.

The Double or Doppelganger (German for "double-goer"):

Defined by Frederick S. Frank as "a second self or alternate identity, sometimes 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 double motif involves a The double motif involves a comparison or contrast comparison or contrast between two characters or between two characters or sets of characters within a sets of characters within a work to represent opposing work to represent opposing forces in human nature. For forces in human nature. For example, Dr. Jekyll and his example, Dr. Jekyll and his evil double Mr. Hyde are evil double Mr. Hyde are contrasted to represent the contrasted to represent the battle between the rational, battle between the rational, intellectual self (Jekyll) and intellectual self (Jekyll) and the irrational, bestial self the irrational, bestial self (Hyde). (Hyde). The double motif The double motif suggests that humans are suggests that humans are burdened with a dual burdened with a dual nature, a soul forever nature, a soul forever divided.divided.Double characters are often Double characters are often paired in common paired in common relationships, such as twins, relationships, such as twins, siblings, husband/wife, siblings, husband/wife, parent/child, hero/villain, parent/child, hero/villain, creator/creaturecreator/creature, etc., etc.

Forbidden Knowledge or Power/ Faust Motif: Forbidden Knowledge or Power/ Faust Motif:

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.

Monster/Satanic Hero/Fallen Man:

The courageous search for forbidden knowledge or power always leads the hero to a fall, a corruption, or destruc- tion, 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).

Multiple Narrative / Spiral Narrative / Frame 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.

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 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).