Punter, David. Beautiful but secretive, she hides herself away in the … Much like that of various literary genres, villains play a pivotal role in Gothic literature. This appears in the trope of the doomed romance, as in Edgar Allan Poe’s “Annabel Lee,” or in the appearance of a demonic lover figure, such as the bloodthirsty vampire in Bram Stoker’s “Dracula.” New York: Routledge, 1996. Bands like Rasputina may catch their attention, and other more opera-like bands and classical music, as was in the Victorian Era. Gothic fiction, which is largely known by the subgenre of Gothic horror, is a genre or mode of literature and film that combines fiction and horror, death, and at times romance. Roditi, Edouard. Botting, Fred. However, it is important to note that Lord Henry does not necessarily believe every word that he states, nor does he live by his own philosophy. London: Reaktion Books, 2002. London: Routledge 2005. In the beginning of the text, Basil Hayward has been in the process of finishing a portrait of Dorian, whose physical beauty has inspired him. About as domestic as you can get is the setting of Madelene Yale Wynne's 'The Little Room'(1895) in which a 'little room' in a New England farmhouse regularly morphs into a china closet. New York Oxford University Press 2005. James Twitchell contends that the text best represents Gothic revival of the late-nineteenth-century sharing the same “deathless limbo, the same disdain for living, the same sadistic glee at the pains of others, and the same almost uncontrollable desire to destroy what is innocent and good” with the likes of Bram Stoker’s character, Dracula (173). The advent of scientific empiricism and education furthered the development of technology and led to the subsequent publishing of layman’s scientific texts meant that that the average person was able to gain an understanding of scientific theorems (Harkup 22). M. R. James, 'O Whistle and I'll Come to you, my Lad', 'Casting the Runes', 'Lost Hearts' (all published 1904) Here was an ever-present sign of the ruin men brought upon their souls” (78). His associate Lord Henry is very interested to meet the boy who could inspire such artistic inspiration, but Basil is very protective of Dorian as he fears that his character could be manipulated under the wrong Influence. Basil paints the portrait and presents it to Dorian, having intended to capture the innocence and beauty of the man but instead introduces him to vanity and a rival. This gains ground after the occupation of Egypt in 1882, which brought a flood of reanimated mummies and other tomb furniture onto the literary market. Life in Victorian London. It is the outward appearance and wealth that determine the quality of the man despite any controversy. England: Wordsworth Classics 1890. Gothic literature began in the mid-eighteenth-century with Horace Walpole’s ‘The Castle of Otranto’, which is widely considered to the first true work of Gothic fiction (‘The Castle of Otranto’). While this is the case, the text also alludes to Christian themes surrounding the sanctity of the soul and the role of corruption. In the time of early Victorian technology, steam-trains and the electric telegraph, many writers retreated into a backward-looking world of sentiment, chivalry and terror, often modelled on the Medieval Gothic of Ann Radcliffe and Walter Scott. The literature of this era was preceded by romanticism and was followed by modernism or realism. Madelene Yale Wynne, 'The Little Room' (1895) As a result of these key factors, England began to secularise. They’re … Gothic Literature in the Eighteenth Century, Edmund Burke, from On the Sublime and Beautiful (1757), Horace Walpole, excerpt from The Castle of Otranto (1764), Clara Reeve, excerpt from The Old English Baron (1778), William Beckford, excerpt from Vathek (1786), Mary Wollstonecraft, From A Vindication of the Rights of Woman: with Strictures on Political and Moral Subjects (1792), Caleb Williams; or, Things As They Are (1794), Anne Radcliffe, excerpt from The Mysteries of Udolpho (1794), Matthew Lewis, excerpt from The Monk (1796), Samuel Taylor Coleridge, Review of The Monk, Mary Shelley, excerpt from Frankenstein (1818), Jane Austen, excerpt from Northanger Abbey (1817), Charlotte Brontë, excerpt from Jane Eyre (1847), Robert Louis Stevenson, Dr. Jekyll and Mr. Hyde (1886), Oscar Wilde, excerpt from The Picture of Dorian Gray (1890). Originally based in Germany, the legend shifts further East to the Balkans, apparently a more plausible domicile for such creatures in the nineteenth century. Ackroyd, Peter. It was further developed by Clara Reeve, Ann Radcliffe, William Thomas Beckford and Matthew Lewis. It is every bit the equal of its literary siblings. Kingston, Angela. It was this hypocritical nature that Wilde seeks to expose with his challenge to the cultural normative. Shelley’s education plus having the benefit of being privy to intellectual conversation among her father’s friends would become a significant influence for her in creating Frankenstein (1818). London: The Biography. Here the heroine, like Lewis Carroll's Alice, creates dream visions through the looking-glass window she can see across the street. Most lists of Gothic fiction rightly include Jane Eyre and Wuthering Heights, but somehow manage to forget this book by the youngest Bronte sister. Selected Bibliography . Despite the fact the portrait has been removed from his sight, the portrait is always on his mind and he begins to visit it periodically after consumption and indulgence as another form of pleasure seeing how much damage he has done (103). Schwarz, L.D. In Ambrose Bierce's 'An Occurrence at Owl Creek Bridge' (1890), the double life of the Confederate saboteur is short and sharp. The environment is key to the trope and sets the atmosphere as the supernatural trope needs the appropriate atmosphere to be effective: Dracula’s castle, Frankenstein’s lab, and the Phantom’s opera house to name but a few. Likewise, Dorian Gray’s immorality makes him monstrous though, unlike previous iterations of the monstrous Gothic antagonist that donned a grotesque aesthetic, Dorian is considered beautiful. Find books The text does not begin with a skin-crawling atmosphere typical of other popular Victorian Gothic horror texts so this event that sparks the decline of Dorian is one that is intended to shock the spectator. Conan Doyle has a wonderful tall story of an Oxford undergraduate who, lacking social skills, makes up for it by keeping a mummy in his room. A Guide to the Gothic by Jack Clark is licensed under a Creative Commons Attribution 4.0 International License, except where otherwise noted. The Fall of the house of Usher is one of the most famous Victorian Gothic novels and Poe was the first writer to introduce psychological madness into gothic fiction. Oscar Wilde as a Character in Victorian Fiction. Edith Nesbit, 'Man-Size in Marble' (1896) Vampire poems began… Anne Bronte, The Tenant of Wildfell Hall. London Profile Books, 2018. M. R. James, an accomplished scholar and academic in his day-job, very fond of this quotation, plants half-forgotten demons in cellars and dusty tomes, suggesting that men of learning, like Dr Jekyll, should be careful what they wish for, or at least search for. Counter-Cultures in Germany and Central Europe. In a desperate fit of rage and anguish, he believed that destroying the portrait was the only way he could undo the damage and in doing so he destroyed himself. London in the Age of Industrialisation: Entrepreneurs, Labour Force and Living Conditions, 1700-1850. Class, Culture, and Anxiety in the Victorian Era. They are black novels. He would often use his observations to inspire characters for his own texts such as Oliver Twist (1837) A Christmas Carol (1843), and Great Expectations (1861). While Dorian and Lord Henry open up the public areas of his house to maintain outward appearances and charm the other members of the aristocracy with celebrated musicians, dinners, exotic artworks, and decorations of gold and silver, the portrait is hidden in the same space (103). Reay, Barry. The climax of the text surrounds Dorian’s decision to hide the portrait and allow it to bear his sin as he becomes more obsessed with his own beauty and youth stating that, “eternal youth, infinite passion, pleasures subtle and secret, wild joys and wilder sins – he was to have all these things… the portrait was to bear the burden…” (85). Through this duplicitous characterization, Wilde creates a more sinister creature outside the typical good and sublime, evil and grotesque binary of Victorian Gothic. New York: State University of New York Press 2004. Prostitution and Victorian Society: Women, Class and the State. 7- In the chaste Victorian era, Gothic literature provided an outlet for the exploration of sexuality. Victorian Gothic: An Introduction by Julian Thompson at http://writersinspire.org/content/victorian-gothic-introduction. The arts became a fixation of the Victorian middle-class population who believed that morality and virtue could be taught through its sophisticated appearance and could be simultaneously mirrored in the public forum. However, the Gothic tropes used earlier in the eighteenth century in texts such as Ann Radcliffe's The Mysteries of Udolpho were transported and interwoven into many late-nineteenth century narratives. The Routledge Companion to Victorian Literature offers 45 chapters by leading international scholars working with the most dynamic and influential political, cultural, and theoretical issues addressing Victorian literature today.Scholars and students will find this collection both useful and inspiring. The vampire makes a spectacular come-back. Achetez neuf ou d'occasion Villain. Achetez neuf ou d'occasion ———. Lord Henry reinforces this point by bluntly suggesting to Dorian upon meeting him that “there is no such thing as a good influence… all influence is immoral…” (18). Here, Wide is exploring his alchemic combination of aestheticism and Christian moral virtue through the use of the portrait as a gauge to detect sin. Chicago: The University of Chicago Press, 1992. Meanwhile Gothic had become so influential that we can detect its elements in much mainstream Victorian fiction. Both Emily and Charlotte Brontë included intimations of the supernatural within narratives that were otherwise attentive to the realities of time, place and material constraint. Walkowitz, Judith R. City of Dreadful Delight: Narrative of Sexual Danger in Late Victorian London. Oliphant calls it is a tale of 'seen and unseen', of reality and appearance. White, Jerry. This is Margaret Oliphant's theme too in her lovely rite-of-passage story, 'The Library Window' (1896). This, however, did not stop threats from being created to take advantage of the fear of the empire’s populace losing their position. Robert Louis Stevenson, 'The Strange Case of Dr Jekyll and Mr Hyde' (1886) England: Blackwell Publishing, 2012. Stevenson stipulated that “within each of us two natures are at war” as humanity struggled to control its more animalistic natures and conform (54). In our world this is a fantasy, indulged and then abruptly curtailed as he drops through the air to his death. In his dream world he thinks he escapes the hangman's noose and returns to his family. New York Cambridge University Press, 2002. English aristocrat Horace Walpole combines the supernatural and horrific to create the first Gothic novel. The coexistence of public and private affairs in the same space became a zeitgeist of the Victorian social atmosphere which is exemplified by the theatre where private boxes were constructed to separate the aristocracy from the other classes and the stage curtains of the theatre “serve to frame rather than hide what happens on stage” (Sampson 30). Wilde uses the Metaphor of the picture in the attic to juxtapose Dorians own simultaneous superficial and visceral duplicity. The point of the vampire is of course to introduce some notion the exchange of bodily fluids, 'slippery blisses' (Keats) that cannot at this time be mentioned in wholesome fiction. The extreme example is Ayesha, H. Rider Haggard’s femme fatale, in She (1887), who dreams of taking over the male-dominated British Empire from her fastness in Sub-Saharan Africa. Gothic fiction(sometimes referred to as Gothic horror) is a genre of literature that combines elements of both horrorand romance. The major setting for scenes as depicted in Gothic literature are Victorian style huge mansions. New York: Palgrave 2000. After the defeat of the French Emperor Napoleon Bonaparte in 1815 by the English at Waterloo, there was no significant rival to this economic expansion (Cornwell 342). It is only after that the portrait is removed from view that Dorian finds the book that Lord Henry has sent him. The story begins with the arrival of mysterious Mrs Graham at the long-dilapidated Wildfell Hall. Dorian eventually realizes the emptiness of his life and believes that he may be able to change for the right reason after he meets a woman he is genuinely attracted too (174). 1. House, Humphry. One that is harder to identify that could exist right next to the spectator to challenge the Victorian duality of morality and beauty through the paradox of Dorian’s influential sinful nature yet unblemished physicality. The Dickens World. Because of this, there was also resistance to Enlightenment rationality that believed that romanticism and faith still played an important cognitive role within European culture (Saul, Tebbutt 43). As stated above the book is never identified but Wilde does describe the contents of the text through Dorian’s eyes. Though Dorian engages in a hedonistic lifestyle that is never fully explored in the initial text, leaving much to the imagination, Dorian’s reputation in the public sphere does fall under scrutiny and scandal. Whelan, Lara Baker. The Gothic trend of the late Victorian Gothic novel was a philosophical observation of the absurdities inherent within the society. Hogle, Jerrold E. The Cambridge Companion to Gothic Fiction. Lovecraft, "The Picture in the House" (1920). The Victorian Underworld. Victorian Reads. Drew, John M. L. “Introduction and Notes.” In The Picture of Dorian Gray. The contemporary understanding is similar but has widened to include a variety of genres, such as paranormal and horror. London: Yale University Press, 1957. While other Gothic novels portray Victorian London was the embodiment of the empire to be invaded or corrupted due to its virtuous civility and morality and supreme nature, Oscar Wilde maintains that the city as an environment is already corrupted through its population’s moral ambiguity and unethical practices despite its beautiful aesthetic. Stevenson, Wilde and Bierce use realism to ground their stories, but Victorian Gothic likes to mix it with 'impossible things', as in the nonsense writings of Carroll and Lear. The American writer Mary E. Wilkins, a prolific writer of good ghost stories, has a particularly poignant one, 'The Lost Ghost', in which a confused and shivering wraith-child is looking for her mother – for any warm, living mother. Sigmund Freud, excerpt from The Uncanny (1919), H.P. Bram Stoker’s Dracula (1897) manifested an eastern threat that could upset modern technological might with ancient supernatural power. These tropes included psychological and physical terror; mystery and the … 1764 The Castle of Otranto: The first Gothic novel. Retrouvez The Victorian Gothic: An Edinburgh Companion et des millions de livres en stock sur Amazon.fr. These … 'Atavism', fear of regression to an earlier, less civilised state – the knights, we are told, belong back in 'Catholic times' – was a fear Victorian Gothic regularly played on. If women’s lives are confined to the home, they are perhaps more likely to … Lessons (to follow Sublime and Early Gothic Fiction) enabling students to understand key features and identify contextual factors that impact Victorian Gothic. The history of Gothic literature dates back to 18th century England. In 'Young Goodman Brown' (1835) a young man living in Salem in the 1690s goes out into the forest at midnight to find a Witches' Sabbath in full swing, to which most if not all of his grey-headed respectable neighbours have turned up. The Picture of Dorian Gray is a comedy of manners and a horror of beauty that corrupts the soul and the picture acts as a mirror to the soul to show the monster within. London: Routledge, 1998. Modern readers and critics have begun to think of Gothic literature as referring to any story that uses an elaborate setting, combined with supernatural or super-evil forces against an innocent protagonist. To further understand the context of The Picture of Dorian Gray, it is important to understand the social issues present within Victorian society. Beasley, Edward. Wilde identifies these hypocritical dualities of beauty and immorality, the sublime and the grotesque, and influence and the monstrous, and creates Dorian Gray as the embodiment of these observations and how a monstrous individual can remain morally infallible if they are physically beautiful. Tumblr is a place to express yourself, discover yourself, and bond over the stuff you love. Akin to other Gothic literature, Dorian’s portrait becomes the grotesque phantom that haunts his existence. In the chaste Victorian era, Gothic literature provided an outlet for the exploration of sexuality. As Lara Whelan states, the picturesque nature of the city became a representation of progress (100). Ambrose Bierce, 'Incident at Owl Creek Bridge' (1890), 'The Eyes of the Panther' (1897) Mary Elizabeth Braddon, 'The Shadow in the Corner' (1879), 'The Good Lady Ducayne' (1896) During this course, you'll: develop the skillset required to work in the heritage industry, the arts and media. H. G. Wells, 'The Door in the Wall' (1906) Hawthorne shows how admirably Gothic can focus without synthesis the light and dark sides of human nature. About | Accessibility | Legal Notice | Privacy, Creative Commons - Attribution-NonCommercial-ShareAlike license, Inspirational literature from the University of Oxford. The influence of Basil is the symbol of moral aestheticism, constantly observing all that is physically beautiful and maintaining the duality between morality and said beauty; a philosophy that “argues for a healthy balance between our inner and outer selves. Thomas Hardy, 'The Withered Arm' (1888), 'Barbara of the House of Grebe' (1893) A favourite quotation in Victorian ghost-stories is Hamlet's 'There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.' These changes in power, culture, and control meant the period was a turbulent time where previously believed truths and facts were under scrutiny. The literature of the Victorian age (1837-1901) entered a new period after the romantic revival. No Man’s Land, Elder Gods and Monsters: The Modern Gothic from 1900-1932. Mary Shelley’s father William Godwin was instrumental to this movement for accessible education by opening a library and publishing house called Juvenile Library and believed that his daughters should also be well educated despite their gender (Harkup 23). Victorian Gothic: 1832-1901 "In the Victorian era, Gothic fiction had ceased to be a dominant literary genre. Its origin is attributed to English author Horace Walpole, with his 1764 novel The Castle of Otranto, subtitled (in its second edition) "A Gothic Story". He puts it well. While in the preceding Romantic period, poetry had tended to dominate, the novel became the defining literary art form of the Victorian period. The late Victorian period saw the publication of some of the most enduring and popular Gothic texts in English literature. As a literary student, you should expect to write a dissertation on this genre of literature. It was a period of revolution; the steam engine changed the nature of transport, industry and the economy which also lead to rapid urbanization as the rural working class and immigrants began to migrate to the city center for refuge and work in the growing industrial city which held a population of over three million toward the end of the nineteenth century (Schwarz 1-2). Buckton, Oliver S. Secret Selves: Confession and Same-Sex Desire in Victorian Autobiography. Subsequently, late Victorian Gothic novels such as The Picture of Dorian Gray are often immersed in the darker elements of the urban landscape of London: Mary Shelley’s (1815) creature of science is cast out into the urban and rural landscapes amongst civility, Bram Stoker’s (1897) Count Dracula is an invading foreign entity with ancient supernatural abilities that could counteract modern progression, Robert Louis Stevenson’s (1886) Mr. Hyde is let loose on the streets of London to conduct murder and depravity. With suggestive blood transfusion come other sexual symbols from the deep past, like the medieval legend of Vlad the Impaler which inspires Dracula, with its body-piercing stakes, or the stone rapists in Edith Nesbit’s story 'Man-Size in Marble' (1896), two statues of brutal Norman knights which come alive at Halloween and stomp from the church to their former home in which a young couple are honeymooning. New York: Cambridge University Press 1992. Covering a range of diverse contexts, the chapters focus on science, medicine, Queer theory, imperialism, nationalism, and gender. The first multi-disciplinary scholarly consideration of the Victorian Gothic These 14 chapters, each written by an acknowledged expert in the field, provide an invaluable insight into the complex and various Gothic forms of the nineteenth century. The text contends that influence is a predominantly negative force. James is particularly good at coming up with new variants on that staple of popular superstition, the curse, as in his signature story, 'Casting the Runes'. New York: Routledge 2010. Norfolk: New Directions Books, 1947. Noté /5. In the Victorian era, Gothic novels even provided an outlet for exploration of sexuality, as seen in Edgar Allan Poe’s 1849 poem, “Annabel Lee.” 6. Upon its publication, the text fell under scrutiny for being controversial, vulgar, and immoral but is now regarded as one of the most provocative and philosophical texts of the late nineteenth century. The Victorians became very aesthetically focused on surfaces and surface beauty. This use of the double recurs in many Gothic works, for example Dante Gabriel Rossetti's agonising artwork, 'How They Met Themselves' (1860-64), in which halves of split personalities confront one another. Stark differences could be drawn between the sophisticated aristocratic dwellings in Kensington and the derelict mean streets of Whitechapel because of the way they are visibly perceived rather than their internal natures. Womack, Kenneth. The Gothic genre only had a very brief life in its pure form. London: William Collins, 2014. Robert Louis Stevenson also perpetuated this fear of internal threats from human nature itself with the publication of the Strange Case of Dr. Jekyll and Mr. Hyde. The results can be seen in Tennyson’s fairy poems of the early 1830s, Charlotte Brontë hiding guilty secrets in the Gothic towers of Thornfield in Jane Eyre (1847), and the way Edgar Allan Poe's 'The Pit and the Pendulum' (1842) cruelly reconstructs the torture-chambers of the Spanish Inquisition. Oscar Wilde, 'The Canterville Ghost' (1887), The Picture of Dorian Gray (1891) Subsequently, public faith in Christian Orthodoxy began to wane in the wake of Enlightenment rationalist thinking that deliberately undermined the church and the monarchy. This cultural upheaval caused uncertainty and anxiety across the class threshold (Ackroyd 599). London: Wordsworth Classics, 2001. This appears in the trope of the doomed romance, as in Edgar Allan Poe’s “Annabel Lee,” or in the appearance of a demonic lover figure, such as the bloodthirsty vampire in Bram Stoker’s “Dracula.” 8- There were variants of Gothic genre. Gothic. 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