In this essay, the author will look into the five aspects of sublimity, using an example from Horace Walpole’s "Castle of Otranto" (1764), Matthew Gregory Lewis’s "The Monk" (1796) and Mary Shelley’s "Frankenstein" (1818), in order to trace the transformation of the Gothic genre from mid-18th century, when the genre began, to early 19th century, when the most famous novel of the genre was written.
The conventions of the Gothic genre have always been changing as time goes on. The most notable and central one is the notion of sublimity, which can be further categorized into five aspects, namely passion, terror, obscurity, power and vastness.
Table of Contents
1. Introduction
2. Definition of Sublimity
3. The passion of astonishment in the Gothic genre
4. Main characters facing terror in the Gothic genre
5. Obscurity in the Gothic genre
6. Power in the Gothic genre
7. Vastness in the Gothic genre
8. Conclusion
Objectives and Themes
This essay examines the evolution of the Gothic mode from the late 18th century to the early 19th century by analyzing the five aspects of sublimity—passion, terror, obscurity, power, and vastness—as presented in Horace Walpole’s The Castle of Otranto, Matthew Gregory Lewis’s The Monk, and Mary Shelley’s Frankenstein.
- The transition of the Gothic genre from reliance on external forces to internal psychological drivers.
- The role of sublimity as defined by Edmund Burke and Immanuel Kant in shaping Gothic literature.
- Shifting dynamics of power and terror from the antagonist toward the protagonist and society.
- The development of the Gothic landscape from confined settings to expansive, continental scopes.
- The reflection of social anxieties, such as the Industrial Revolution, in literary narratives.
Excerpt from the Book
Obscurity in the Gothic genre
The notion of obscurity or uncertainty in the Gothic genre are commonly expressed by scary images such as the ‘dimly-lit passageways and dark galleries’ in the Castle of Otranto (qtd. in Roth 61), the ‘faint beams of the Lamp’ in the Monk (Lewis 178) and the ‘dim and yellow light of the moon’ under which the creature finds his way out of Victor’s laboratory (Shelley 31-32). Despite these Gothic conventions, we can see the transformation of the issue of obscurity in the Gothic genre by looking on the question that the literature of each period intended to explore, as questions aims to give uncertainties a definite answer through such exploration. In Castle of Otranto, for example, the central question is to figure out the mysterious force behind the death of Manfred’s son and the obstruction in letting Manfred’s inheritance line to continue. We see only the blood of Alfonso, the helmet of Alfonso, the portrait of Alfonso, and the ancient prophecy of his revenge on the stolen line of nobility, before Alfonso’s ghost finally appeared near the end of the novel and substantialized the situation. The situation in the Monk is quite similar. The force that led the Monk’s to his ultimate fate was unclear as Satan disguised as Matilda. Not until Satan appeared in front of Ambrosio at the end of the novel has this became clear. The Monk, however, is different from Castle of Otranto in the way that Ambrosio was hesitant in whether signing Satan’s contract, or facing the holy Inquisition, is the better way outlive his days, i.e. whether Satan or God would salvage Ambrosio. This dilemma is never faced by Manfred in Castle of Otranto as he has a clear enemy, Alfonso. From this point we can see that obscurity has changed from blurring the only source of terror to blurring the righteousness of two sources of terror.
Chapter Summaries
Introduction: The introduction outlines the central thesis regarding the changing conventions of the Gothic genre, specifically focusing on the five aspects of sublimity.
Definition of Sublimity: This chapter provides a theoretical foundation by discussing the historical definitions of the sublime by Longinus, Edmund Burke, and Immanuel Kant.
The passion of astonishment in the Gothic genre: This section traces how the causes of astonishment shift from external supernatural forces in early Gothic works to individual moral failings in later ones.
Main characters facing terror in the Gothic genre: This chapter analyzes how the source of terror evolves from clear-cut antagonists toward multifaceted threats, including the self and social institutions.
Obscurity in the Gothic genre: This chapter discusses how the use of shadows and uncertainty reflects the shifting narrative focus from solving mysterious events to questioning broader social and ethical dilemmas.
Power in the Gothic genre: This section examines the transition of power dynamics, noting a move from confident struggles against villains to a sense of powerlessness in the face of supreme or existential threats.
Vastness in the Gothic genre: This chapter explores how the concept of vastness, both in characters and landscape, expands from small, castle-bound settings to continental and symbolic scopes.
Conclusion: The conclusion synthesizes the findings, confirming that the Gothic genre evolved alongside changing social conditions to become a more complex medium for experiencing sublimity.
Keywords
Gothic mode, Sublimity, Passion, Terror, Obscurity, Power, Vastness, Horace Walpole, Matthew Gregory Lewis, Mary Shelley, Industrial Revolution, Gothic literature, Transformation, Enlightenment, Narrative evolution.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper focuses on analyzing the transformation of the Gothic genre from the late 18th century to the early 19th century by examining how the five aspects of sublimity are utilized in three iconic novels.
Which literary works are used to illustrate these transformations?
The research primarily analyzes Horace Walpole's The Castle of Otranto, Matthew Gregory Lewis's The Monk, and Mary Shelley's Frankenstein.
What does the term "sublimity" encompass in this context?
Based on Edmund Burke’s typology, the paper categorizes sublimity into five distinct aspects: passion, terror, obscurity, power, and vastness.
How is the concept of terror treated differently across the three novels?
The paper highlights a transition where terror shifts from being induced by external antagonists in earlier works to being induced by the protagonist's own actions and societal issues in later works.
What methodology does the author employ?
The author uses a comparative literary analysis approach to trace the evolution of Gothic conventions by contrasting the narrative techniques and thematic elements across the chosen texts.
What role does the Industrial Revolution play in this analysis?
The Industrial Revolution is identified as a factor influencing later Gothic narratives, specifically regarding the "terror" associated with modern societal problems and the unpredictability of progress.
How does the representation of "vastness" change between the texts?
Vastness expands from being a localized feature—such as a large object or a single castle—to a continental scope that incorporates the theme of death across wider geographical settings.
How does the perception of "power" in the Gothic hero evolve?
There is a noted decline in the hero's self-confidence and power, shifting from active resistance against antagonists to a position of helplessness or being caught between conflicting supreme forces.
- Quote paper
- Kwan Lung Chan (Author), 2020, The Conventions of the Gothic Genre, Munich, GRIN Verlag, https://www.grin.com/document/906429
