- Article by: John Bowen
- Themes: The novel 1780–1832, The Gothic
- Published: 15 May 2014
Professor John Bowen discusses key motifs in Gothic novels , including the uncanny, the sublime and the supernatural. Filmed at Strawberry Hill House, Twickenham.
Strange placesIt is usual for characters in Gothic fiction to find themselves in a strange place; somewhere other, different, mysterious. It is often threatening or violent, sometimes sexually enticing, often a prison. In Bram Stoker’s 1897 Dracula, for example, Jonathan Harker, a young lawyer’s clerk, suddenly finds himself trapped within Castle Dracula. That scene occurs in Central Europe, but often in classic Gothic fiction – in the novels of Ann Radcliffe for example – it takes place in distant, marginal, mysterious southern Europe; and it could just as easily be somewhere like Satis House in Great Expectations, a decaying mansion just down the road.
Front cover for 1919 edition of Dracula
Castle Dracula from the cover of the thirteenth edition of Bram Stoker’s Dracula, 1919.View images from this item (1)
Great Expectations illustrated by John McLenan
Miss Havisham and the decaying Satis House from Charles Dickens’s Great Expectations, illustrated by John McLenan, 1861.View images from this item (16)
Clashing time periodsJust as places are often mysterious, lost, dark or secret in Gothic fiction, so too are its characteristic times. Gothics often take place at moments of transition (between the medieval period and the Renaissance, for example) or bring together radically different times. There is a strong opposition (but also a mysterious affinity) in the Gothic between the very modern and the ancient or archaic, as everything that characters and readers think that they’ve safely left behind comes back with a vengeance.
Melmoth the Wanderer
Set in 1816, Charles Maturin’s Melmoth the Wanderer revolves around a man from the mid-1600s who is disturbingly still alive over 150 years later.View images from this item (24)
Power and constraintThe Gothic world is fascinated by violent differences in power, and its stories are full of constraint, entrapment and forced actions. Scenes of extreme threat and isolation – either physical or psychological – are always happening or about to happen. A young woman in danger, such as the orphan Emily St Aubert in Ann Radcliffe’s The Mysteries of Udolpho (1794) or Lucy Westenra in Dracula, is often at the centre of Gothic fiction. Against such vulnerable women are set the great criminals or transgressors, such as the villainous Montoni in The Mysteries of Udolpho or Count Dracula. Cursed, obscene or satanic, they seem able to break norms, laws and taboos at will. Sexual difference is thus at the heart of the Gothic, and its plots are often driven by the exploration of questions of sexual desire, pleasure, power and pain. It has a freedom that much realistic fiction does not, to speak about the erotic, particularly illegitimate or transgressive sexuality, and is full of same-sex desire, perversion, obsession, voyeurism and sexual violence. At times, as in Matthew Lewis’s The Monk (1796), Gothic can come close to pornography.
Promotion for the film adaptation of Dracula starring Helen Chandler and Bela Lugosi
Promotional still from the 1931 film version of Dracula; the scene shows Dracula at the point of attacking Lucy. The two women in Dracula (1897), Lucy Westenra and Mina Murray, embody two different vews of womanhood, and meet very different fates.View images from this item (2)
Terror versus horrorWhy do readers take such pleasure in Gothic’s descriptions of frightening and horrible events, and might there be something wrong or immoral in doing so? The pioneering gothic novelist Ann Radcliffe was particularly troubled by these questions and in trying to answer them, made an important distinction between ‘terror’ and ‘horror’. Terror, which she thought characterised her own work, could be morally uplifting. It does not show horrific things explicitly but only suggests them. This, she thinks, ‘expands the soul’ of the readers of her works and helps them to be more alert to the possibility of things beyond their everyday life and understanding. Horror, by contrast, Radcliffe argues, ‘freezes and nearly annihilates’ the senses of its readers because it shows atrocious things too explicitly. This is morally dangerous and produces the wrong kind of excitement in the reader. Whereas there might be the fear or suggestion of the possibility of sexual assault or rape, for example, in a Radcliffe novel, there is explicit description of such scenes in The Monk. Terror, which can be morally good, characterises the former; horror, which is morally bad, the latter. Terror for Radcliffe is concerned with the psychological experience of being full of fear and dread and thus of recognising human limits; horror by contrast focuses on the horrific object or event itself, with essentially damaging or limiting consequences for the reader’s state of mind.
The Bleeding Nun, of the Castle of Lindenberg; or, the history of Raymond & Agnes
Illustrations of the Bleeding Nun from the Gothic novel, The Monk (1796), written by Matthew Lewis.View images from this item (2)
A world of doubtGothic is thus a world of doubt, particularly doubt about the supernatural and the spiritual. It seeks to create in our minds the possibility that there may be things beyond human power, reason and knowledge. But that possibility is constantly accompanied by uncertainty. In Radcliffe’s work, even the most terrifying things turn out to have rational, non-supernatural explanations; by contrast, in Lewis’s The Monk, Satan himself appears. The uncertainty that goes with Gothic is very characteristic of a world in which orthodox religious belief is waning; there is both an exaggerated interest in the supernatural and the constant possibility that even very astonishing things will turn out to be explicable. This intellectual doubt is constantly accompanied by the most powerful affects or emotions that the writer can invoke. The 18th-century philosopher and politician Edmund Burke in his 1757 A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful made a vital distinction between the beautiful and the sublime which has shaped much modern thinking about art. Beauty, for Burke, is characterised by order, harmony and proportion. Sublime experiences, by contrast – the kind we get for example from being on a high mountain in a great storm – are excessive ones, in which we encounter the mighty, the terrible and the awesome. Gothic, it is clear, is intended to give us the experience of the sublime, to shock us out of the limits of our everyday lives with the possibility of things beyond reason and explanation, in the shape of awesome and terrifying characters, and inexplicable and profound events.
Burke's A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful
Edmund Burke’s comparison between the beautiful and the sublime from A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1779 (first published 1757).View images from this item (10)
 Sigmund Freud, “The Uncanny”, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume XVII (1917-1919): An Infantile Neurosis and Other Works (London: Hogarth, 1919), pp. 217-256 (p.219).
 Ann Radcliffe, ‘On the Supernatural in Poetry’, New Monthly Magazine, 16 (1826), 145-152 (p. 150).
The text in this article is available under the Creative Commons License.