Gothic Novel
Gothic Novel
A Gothic novel is like a spooky roller coaster ride through dark castles, creepy landscapes, and mysterious secrets, perfect for a thrilling page-turner!
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The Article In a Nutshell
A Gothic novel is a literary genre that originated in the late eighteenth century, characterised by an atmosphere of mystery, fear, and the supernatural, typically set within dark, decaying buildings such as castles or monasteries. The term “Gothic” derives from the Goths, a Germanic tribe, and historically carried associations with barbarism and medievalism, which influenced the genre’s aesthetic. Gothic literature emerged during the Romantic period in Britain, notably beginning with Horace Walpole’s The Castle of Otranto (1765), and later developed by writers such as Ann Radcliffe, Matthew Lewis, and Edgar Allan Poe.
Key features of the Gothic novel include grotesque and haunted settings, an atmosphere of suspense, and the intrusion of the past into the present. Supernatural elements, emotional intensity, and the portrayal of characters in distress—particularly the motif of the damsel in distress—are central to the genre. Gothic fiction often challenges conventional norms through transgression of taboos and explores psychological themes such as trauma, madness, and moral conflict. Structurally, it frequently employs a non-linear narrative with fragmented storytelling, multiple perspectives, and epistolary forms. The Gothic novel has influenced a wide range of literary works and continues to shape contemporary genres such as horror and psychological thrillers.
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Introduction
The term ‘Gothic’ comes from the Goths, a Germanic tribe that invaded the Roman Empire. Traditionally, it has been used to describe things that are barbaric, rude, and unenlightened, which reflects medieval times. Moreover, ‘Gothic’ is often associated with qualities of gloom (dark and pessimistic), mystery, and the grotesque (unnaturally ugly).
The Gothic novel emerged in the late eighteenth century. It was a form of romantic fiction that combined elements of mystery and terror. The Encyclopaedia Britannica defines it as:
Romantic pseudomedieval fiction having a prevailing atmosphere of mystery and terror”.
Britannica calls it ‘pseudomedieval’ because it creates a fantastic version of the medieval world, mostly with the intention to evoke mystery, fear and wonder, rather than represent true medieval history. This definition points to the core mood of Gothic novels—the past often appears as a troubling presence, shown through crumbling old buildings and manifesting as the psychological troubles of characters. In literature, Gothic can be defined as:
any writing that employs dark picturesque scenery, uses melodramatic narrative devices, and creates a feeling of mystery, fear, and dread.”
A Gothic novel or story often revolves around a large ancient house that conceals a terrible secret or that serves as the refuge for an especially frightening and threatening character (e.g. Montoni hides in the Castle of Otranto). Although this gloomy theme is common in all gothic fiction, gothic writers also include supernatural elements, romance, famous historical figures, and adventure stories to entertain readers.
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Origin and Development of Gothic Novel as a Genre
Gothic literature emerged during the Romantic period in Britain as one of the earliest forms of Dark Romanticism. It is a literary genre (ZOHN-rah) that emerged as a part of a larger movement—Romanticism . The term “Gothic” was first used in literature as part of the subtitle for Horace Walpole’s 1765-novel, The Castle of Otranto: A Gothic Story. According to the British Library, Walpole used the term as a subtle (not very noticeable) joke, meaning both “barbarous” and “from the Middle Ages.” The book was presented as an ancient story that had recently been discovered, which was just a part of the tale. In the mid-1800s, American writer Edgar Allan Poe embraced this genre and excelled in it. Through Gothic literature, Poe explored themes of psychological trauma, human evil, and mental illness. Modern-day zombie stories, detective tales, and Stephen King’s novels all owe a debt to Poe. Although there were successful Gothic writers both before and after him, none perfected the genre like Poe.
Some of the most influential and popular 18th-century Gothic writers include Horace Walpole (The Castle of Otranto, 1765), Ann Radcliffe (Mysteries of Udolpho, 1794), Matthew Lewis (The Monk, 1796), and Charles Brockden Brown (Wieland, 1798). The genre remained popular during the 19th century, with Romantic authors like Sir Walter Scott (The Tapestried Chamber, 1829) and Victorian writers such as Robert Louis Stevenson (The Strange Case of Dr. Jekyll and Mr. Hyde, 1886) and Bram Stoker (Dracula, 1897) using Gothic motifs in their works. Gothic elements are also found in several classic 19th-century novels, including Mary Shelley’s Frankenstein (1818), Nathaniel Hawthorne’s The House of the Seven Gables (1851), Charlotte Bronte’s Jane Eyre (1847), Victor Hugo’s The Hunchback of Notre Dame (1831), and many stories by Edgar Allan Poe (The Murders in the Rue Morgue, 1841; The Tell-Tale Heart, 1843).
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Elements (Features) of Gothic Novel
Grotesque and Haunted Setting
The setting is one of the most important features of Gothic fiction. These novels are often set in isolated or crumbling buildings, such as castles or monasteries. These buildings are described as having “subterranean passages, dark battlements, hidden panels, and trapdoors”. These castles often have hidden rooms, trick panels with secret levers, dark or hidden staircases, and possibly ruined sections. Sometimes the building seems abandoned, sometimes it is occupied, and sometimes it’s unclear if anyone is there—human or otherwise. Wikipedia notes that these novels are “typically claustrophobic,” and their settings are often “remote or decaying buildings”. Such settings evoke feelings of secrecy, isolation, and hidden danger. The atmosphere is often dark, creating a sense of mystery and menace. The darkness also allows for sudden, frightening appearances of people, animals, ghosts, apparent (seeming) ghosts, or monsters.
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An Atmosphere of Mystery and Suspense
Gothic novels often create an atmosphere of mystery and suspense, enhanced by the unknown. For example, in Mary Shelley’s Frankenstein, Victor Frankenstein is filled with suspense and dread when he sees fleeting glimpses of his monstrous creation in the shadows, unsure if it is really there or just his imagination. Similarly, in Charlotte Brontë’s Jane Eyre, the mysterious noises and strange laughter that Jane hears in Thornfield Hall contribute to the atmosphere of fear and suspense, leaving her to wonder if they are made by a person or just the creaks and groans of the old mansion. In Dracula by Bram Stoker, Jonathan Harker is immersed in mystery and suspense when he first arrives at Count Dracula’s castle. He sees strange figures and hears unsettling noises, unsure if they are real or just tricks of the mind. The plot’s central mystery revolves around Dracula’s true nature and his dark intentions.
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The Intrusion of Past over Present
The intrusion (intervention) of the past over the present is a common element in Gothic novels. This theme involves the past haunting or influencing the present, often through secrets, memories, or unresolved issues that resurface and impact the characters’ lives. In Wuthering Heights by Emily Bronte, the past continuously intervenes on the present through the memories and unresolved emotions of the characters. Heathcliff’s obsession with his past love, Catherine, drives the plot and influences the lives of the next generation. Similarly, in Jane Eyre by Charlotte Bronte, Mr. Rochester’s hidden past with his wife, Bertha Mason, intervenes into his relationship with Jane Eyre. The revelation (uncovering) of this secret dramatically alters the course of the story, highlighting the impact of the past on the present.
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Supernatural Elements
Supernatural elements are a distinctive feature of Gothic novels. They add a sense of mystery, suspense, and fear to the narrative. These elements often involve ghosts, monsters, unexplained phenomena, and otherworldly occurrences that defy rational explanation. However, sometimes these seemingly supernatural events are later explained in a rational way. According to SparkNotes, Gothic novels often contain “seemingly supernatural elements” that “may eventually be explained as the machinations of villains”.
Whether real or imagined, the presence of the supernatural creates a sense of instability. It disturbs both the characters and the readers. Gothic novels often include dreams, hallucinations, or psychological torment, blurring the line between reality and fantasy.
For instance, The Castle of Otranto begins with the sudden and unexplained death of Conrad, the son of Lord Manfred. On the day of his wedding, Conrad is crushed to death by a giant helmet that mysteriously appears in the castle courtyard. This helmet is an exact replica of the one worn by the statue of Alfonso the Good, a former prince of Otranto. Its supernatural appearance is unexplained and serves as an ominous (evil) sign of the events to come. Throughout the novel, characters encounter ghostly apparitions (appearance) and animated statues. For instance, a portrait of Manfred’s grandfather descends from its frame and walks out of the picture that further heightens the sense of supernatural dread. Similarly, in Wuthering Heights, the ghost of Catherine Earnshaw is said to haunt the moors and Wuthering Heights itself. Her spectral (ghostly) presence, felt by Heathcliff and others, adds to the novel’s dark and fearful atmosphere.
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Passionate and Emotional Characters
Gothic novels are highly emotional. They focus on passion, fear, guilt, and madness. The genre often rejects reason and logic. Instead, it places a strong emphasis on imagination, emotion, and extreme passion. Characters in these novels are often driven by their emotions rather than rational thought. They often experience heightened emotional states such as anger, sorrow, surprise, fear, and especially terror. Their fears, desires, and torment are heightened by isolation or trauma.
The language used is often dramatic and emotional. This creates a tone that is both intense and unsettling. As eNotes puts it, Gothic fiction “focused heavily on imagination, emotion and extreme passion”. For example, in Frankenstein, Victor Frankenstein’s extreme reactions to the consequences of his scientific experiments amplify the sense of unease and foreboding. Reflecting on his creation, Victor exclaims, ‘I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.’ This quote illustrates Victor’s intense emotional turmoil and the horror he feels upon realizing the implications of his creation.
Heightened emotions are also used to highlight the psychological turmoil of characters, revealing their inner conflicts, moral dilemmas, and existential crises. For example, in Emily Bronte’s Wuthering Heights, the passionate and tumultuous relationship between Catherine and Heathcliff is characterized by intense emotional extremes, including jealousy, obsession, and despair. Catherine expresses her deep emotional turmoil in the following quote: ‘Whatever our souls are made of, his and mine are the same; and Linton’s is as different as a moonbeam from lightning, or frost from fire.’ This quote illustrates Catherine’s intense connection with Heathcliff and highlights the overwhelming emotions.
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Damsel in Distress
The characters in Gothic novels are often in extreme emotional and physical distress. One common pattern in these stories is the young heroine who is threatened by a powerful and morally corrupt man. As SparkNotes describes, these novels “frequently feature young heroines threatened by dangerous and diabolic villains”. These villains are often cruel aristocrats, tyrannical guardians, or mad scientists. They embody evil, ambition, or madness. The heroine is often imprisoned or stalked, and her vulnerability is used to build suspense. eNotes asserts that the Gothic genre often explores the “theme of confinement or entrapment,” especially involving “a heroine who is trapped and victimised”.
The female characters of Gothic novels often face vulnerable situations that reveal both their vulnerability and resilience living in male-dominated societies, oppressive environments, or supernatural settings. These women face physical, emotional, or psychological threats such as imprisonment, confinement, or victimisation, which call attention to power dynamics and social restrictions.
For instance, characters like Bertha Mason in Charlotte Bronte’s Jane Eyre or Emily in Ann Radcliffe’s The Mysteries of Udolpho are forcibly imprisoned or confined which show their distressing circumstances. Similarly, in Dracula, Lucy Westenra in Dracula is assaulted by supernatural forces.
Despite these challenges, Gothic heroines such as Jane Eyre or Emily St. Aubert exhibit resilience and autonomy. They challenge the social expectations and strive for agency in the face of romantic and moral complexities. This theme not only intensifies suspense and evokes understanding but also examine deeper into themes of power, gender roles, and the struggle for agency in Gothic literature.
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Transgression of Taboos
One characteristic of Gothic literature is the intentional breaching of social, moral, or psychological boundaries, which is known as transgression of taboos. Deeply ingrained fears and suppressed anxieties within a particular culture are often reflected in this literary mode’s inclusion of themes that unnerve or disturb. Incest, sexual violence, mental instability, criminal activity, and death are common themes. Reanimating dead tissue into life in Mary Shelley’s Frankenstein defies accepted natural laws and has horrifying and chaotic results. Similar to this, Bram Stoker’s Dracula depicts transgressive desire through the vampire character, whose deeds represent moral and sexual transgression.
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Complicated and Discontinuous Narrative Structure
The structure of Gothic novels is often complex. Gothic novels use a storytelling technique in which the sequence of events is presented in a non-linear and fragmented manner. This approach is characteristic of many Gothic novels, where complexity in structure is used to enhance suspense and maintain a sense of mystery. Common features include multiple narrators, shifting timelines, and the use of epistolary elements such as letters, journals, and discovered documents. These narrative devices enable authors to withhold or gradually disclose information, often leading readers to reconstruct the story through scattered clues.
Gothic narratives frequently employ framing techniques and stories-within-stories to introduce varying viewpoints and deepen ambiguity. As noted in literary sources, such narratives are often described as “discontinuous and convoluted,” utilising layered structures to build tension. In Wuthering Heights by Emily Bronte, for example, the plot unfolds through the voices of different narrators and across different time periods, gradually revealing hidden relationships and buried secrets. Likewise, Frankenstein by Mary Shelley employs a frame narrative told through letters and multiple perspectives, contributing to a heightened sense of enigma and narrative depth.
Conclusion
The Gothic novel is a literary genre that depicts a narrative world where the influence of the past continues to shape and disrupt the present. Characterised by its emphasis on heightened emotions and atmospheric settings, the Gothic novel often portrays situations in which emotion prevails over rational thought, and fear functions both as an immediate experience and as a symbolic element. Typical features of the genre include eerie or decaying locations, psychologically intense characters, and events that defy normal explanation. These elements serve to examine underlying anxieties related to history, personal and cultural identity, and moral uncertainty. As a literary form, the Gothic novel:
embodies an appreciation of the joys of extreme emotion, the thrills of fearfulness and awe inherent in the sublime.”
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