The “sublime” is a word you’ll hear tossed around a lot as you study Gothic literature, and even sometimes within the texts themselves. But what exactly does it mean? I’ll do my best to give a simple introduction to this rather complex term in this post, which will be the first in a series on important vocabulary words that will enhance your understanding of the Gothic.
With Valentine’s Day around the corner, we’ve all got a bit of romance on the mind. And what could be more romantic than an entire genre that was originally called “Gothic Romance”? Of course, the term “romance” has meant different things over the course of the genre’s history, and each iteration of the Gothic utilizes romantic elements in different ways. Let’s take a brief look at the role romance has played in Gothic fiction.
It goes without saying that one of the defining characteristics of Gothic fiction is a creepy setting—a castle falling into ruin, a haunted manor, or some mist-covered moors. But what’s a creepy setting without some creepy inhabitants? One of the most iconic of these, particularly in mansions and manors, is the creepy housekeeper. The creepy housekeeper is usually an older woman with personal ties to the manor itself or its previous inhabitants. Her primary role is generally to make the young female protagonist feel anxious and out of place as a newcomer and to provide either threats or warnings of danger.
Judith Anderson as Mrs. Danvers looms behind the nameless narrator in Hitchcock’s Rebecca.Horror. Terror. They’re synonyms, right? Actually, they’re similar, but their meanings are slightly different, especially in the world of Gothic literature. In fact the terms represent two different schools of thought that early writers of Gothic literature divided themselves along. And at the beginning, this division occurred loosely along gender lines, as Matthew Lewis and Ann Radcliffe were held up as the representatives of each camp.
Continue reading Horror vs. Terror and the Gender Divide in Gothic Literature
Women have been pivotal influencers of the gothic genre from the very beginning. At a time when women’s opinions were largely dismissed and many doors were barred to them in other literary pursuits, writing Gothic novels was one of the few ways in which women could become prolific and popular writers. One reason for this was that the original Gothic genre was closely associated with women, as women made up the majority of its readers. Gothic novels were often regarded much like “chick lit” is today—as sentimental fluff good for entertaining women’s simple minds but completely lacking in literary value. Despite being devalued by critics (and by the members of the general public not yet under the genre’s sway), the works of these female authors have had a profound influence on our perception of the gothic today. Let’s take a moment to celebrate some of these awesome queens of terror! Continue reading Five Foundational Female Writers of Gothic Lit
The term “Gothic” (with a capital G) refers to an era of literature and its accompanying trend in architecture during the late 18th century and throughout the 19th century. Both the literary and architectural movements were characterized by a return to medieval aesthetics. Fashionable English aristocrats, such as Horace Walpole, began to fill their estates with highly ornamented turrets and towers reminiscent of medieval churches.
Meanwhile, many authors began to abandon the Enlightenment principles of rationality and reason in favor of exploring the pleasure that can be found in emotions like terror. The original Gothic stories featured Gothic castles, abbeys, and ruins of the sort that were now being recreated and were often set in a vaguely medieval past. They generally included elements of the supernatural in reaction against the recent trend of realism and were characterized by melodrama, mystery, and suspense. Listed below are some of the seminal works of early Gothic fiction. Continue reading The Roots of Gothic Literature
