The genre of Gothic became one of the most popular of the late 18th and early 19th century, and the novel usually regarded as the first Gothic novel is Horace Walpole's "The Castle of Otranto", first published in 1764. The first great practitioner of the Gothic novel, as well as the most popular novelist of the eighteenth century in England, was Ann Radcliffe. She added suspense, painted evocative landscapes and moods or atmosphere, portrayed increasingly complex, fascinatingly-horrifying, evil villains, and focused on the heroine and her struggle with the male tyrant. Her work "The Italian" (1797) have the ability to thrill and enthrall readers.
Inspired by Radcliffe, a more sensational type of Gothic romance, exploiting horror and violence, flourished in Germany and was introduced to England by Matthew Gregory Lewis with "The Monk" (1796). The novel follows the lust-driven monk Ambrosio from one abominable act to another – rape, incest, matricide, burial alive – to his death and well-deserved damnation.
The different schools, which are Female Gothic represented by Radcliffe and Male Gothic represented by Lewis, are distinguished by some critics as novel of terror and novel of horror. Sometimes this same distinction is tied to gender, with female equated with terror Gothic, and with male being equated with horror Gothic because both female and male writers can produce female and male Gothic.
In this paper, I will explain the characteristics of the Female Gothic and the Male Gothic and the difference between these genres, more specifically by focusing on the function of gender and the characterization of the main characters in Ann Radcliffe’s "The Italian" and Matthew Lewis "The Monk". This is followed by the conclusion, in which the findings of this research will be laid out.
Table of Contents
1 Introduction
2 The Female and Male Gothic genre
2.1 The Female Gothic
2.2 The Male Gothic
2.3 Terror vs. Horror: The distinction between the two gothic genres
3 The Function of Gender in selected Gothic Novels
3.1 The role of gender in Ann Radcliffe’s The Italian
3.1.1 The characterization of the heroine
3.1.2 The characterization of the (hero-)villain
3.2 The role of gender in Matthew Lewis’s The Monk
3.2.1 The image of women
3.2.2 The characterization of the female character Matilda
4 Conclusion
Objectives and Topics
The primary objective of this research paper is to analyze the characteristics and differences between the Female and Male Gothic subgenres, specifically focusing on how gender roles and character development function within these literary traditions.
- The distinction between Female and Male Gothic subgenres
- Theoretical definitions of Terror vs. Horror
- Gendered characterization in Ann Radcliffe’s The Italian
- Gender representation and subversion in Matthew Lewis’s The Monk
- Patriarchal influence on Gothic literature
Excerpt from the Book
3.1.2 The characterisation of the (hero-)villain
The villain is a male adult who oppresses his victim, the heroine, often by persecuting her or by locking her up in a room or tower in a dark and sinister building. He is usually handsome and gloomy, but there is also something evil or wicked about him, for example “piercing eyes”. He is typically characterised by emotions of ‘lust and cruelty’, and he is completely focused on satisfying his desires. A recurrent theme in Radcliffe’s work is ‘the theme of unrestraint’, which is represented by the villain (Radcliffe 2008a, x-xi). This theme causes him to commit two crimes: murder and incest. Incest was frequently displayed as rape and both crimes are “extreme forms of transgression by the family relationship which exists between the oppressor and the victim”, so not just incest, but also murder is committed within the family (Radcliffe 2008a, xi-xii). However, Radcliffe never lets incest between blood relatives be fulfilled in her romances. The villain of The Italian, to whom the title of this romance refers, is father Schedoni, a monk of the Dominican convent of the Spirito Santo at Naples. His description lasts almost two pages, in which a forecast is given on the future events in the narrative. The narrator emphasises his gloomy figure and the mystery of his origins and family, which “was unknown, and from some circumstances, it appeared, that he wished to throw an impenetrable veil over his origin”.
Schedoni’s countenance is typical of a Gothic villain, except that he is not handsome. He is a tall, dark and extremely thin figure dressed in black. He is portrayed as the unmistakable villain of the narrative, whose character seemingly only consists of evil features. Like every other Radcliffean villain, Schedoni has a talent for manipulation. He can “adapt himself to the tempers and passions of persons, whom he wished to conciliate, with astonishing facility, and generally with complete triumph” (Radcliffe 2008, 35), as he does to the Marchesa di Vivaldi, who trusts him as her confessor.
Summary of Chapters
1 Introduction: This chapter provides an overview of the Gothic genre, introduces key authors like Radcliffe and Lewis, and outlines the research focus on gendered characterization.
2 The Female and Male Gothic genre: This section defines the two subgenres, explores the historical distinction between terror and horror, and discusses the role of patriarchal structures in shaping these narratives.
3 The Function of Gender in selected Gothic Novels: This chapter performs a comparative analysis of gender dynamics, specifically examining the heroine and hero-villain archetypes in Radcliffe’s The Italian and the representation of women and the character Matilda in Lewis’s The Monk.
4 Conclusion: The concluding section synthesizes the findings, highlighting how female authors used the Gothic genre to subvert patriarchal constraints while maintaining traditional gender roles.
Keywords
Gothic Fiction, Female Gothic, Male Gothic, Ann Radcliffe, Matthew Lewis, Gender Roles, Heroine, Hero-Villain, Patriarchy, Terror, Horror, Characterization, The Italian, The Monk, Literary Criticism
Frequently Asked Questions
What is the primary focus of this paper?
This paper explores the functional role of gender within the Female and Male Gothic subgenres, specifically comparing how male and female characters are constructed in selected classic texts.
What are the central thematic areas?
The core themes include patriarchal oppression, the definition of the 'hero-villain', the 'monster-woman' archetype, and the historical distinction between terror and horror.
What is the main research question?
The research examines how the characterization of main characters in works by Ann Radcliffe and Matthew Lewis serves to express or subvert the patriarchal ideologies of the late 18th century.
Which scientific methodology is applied?
The author uses a comparative literary analysis approach, drawing upon historical context, feminist critical theory, and established definitions of Gothic tropes to analyze the texts.
What is covered in the main body of the work?
The main body examines the specific literary conventions of the Female vs. Male Gothic and conducts a detailed character analysis of figures such as Ellena di Rosalba, Father Schedoni, and Matilda.
Which keywords best characterize this work?
Key terms include Female Gothic, Male Gothic, patriarchal subversion, hero-villain, gendered characterization, and the distinction between terror and horror.
How does the author define the hero-villain in The Italian?
The hero-villain, specifically Father Schedoni, is analyzed as a dual character who is initially perceived as purely corrupt but later reveals human vulnerability, serving as a tool for social criticism.
Why is Matilda considered a 'monster-woman' in The Monk?
Matilda is analyzed as a figure who challenges masculine control and independence; her ambition and agency are framed within the text as 'monstrous' or 'unnatural' by male standards.
What is the significance of the distinction between Terror and Horror in this paper?
The author utilizes Radcliffe's own definitions to differentiate the two, arguing that they correspond to different stylistic techniques and gendered experiences of fear.
- Quote paper
- Angela Leonardi (Author), 2016, The Function of Gender in Female and Male Gothic, Munich, GRIN Verlag, https://www.grin.com/document/351794
