The prevalent atmosphere is a doom and gloomy one, in order for incomprehensible situations to take place. Some of the most known Gothic novels are Frankenstein, Dracula, Wuthering Heights, stories written by Edgar Allen Poe. According to Crystal B. Lake, the Gothic literature expose and play with the unknown, hidden parts of society or of ourselves hence what makes it so terrifying is the fact that it brings into the light, it gives a voice to
Gothic literature is surrounded by suspenseful elements that go together to create a sense of anxiety, which is exactly what Poe and Faulkner did with their stories. In “A rose for Emily” by William Faulkner, the story is based off the events that surrounds Emily Grierson and her strange life, which bounces from the time of her death to different time events in her life to create a wicked plot line. “The Fall of the House of Usher” by Edgar Allan Poe is even more eery in the way the story is created. The story line follows the sole remaining members of the Usher family that have already-existing weird qualities such as the fact that both have strange diseases (Roderick suffers Acuteness of the senses and Madeline suffers from Catalepsy) that
Another may be that the narrator is dead, and the house is in a part of the spirit world. One could hypothesize for hours on the house of Usher but one thing is for certain, it is an excellent sample of the darkness and mystery surrounding so much of Poe’s
“The Gothic” English Literature helps the world escape reality. English Literature can be Funny, Scary, Serious or Factual. But Is Gothic Literature a big part of English Literature? Now some people hate the Gothic Genre and never want to take a chance and leave certain Genres to read it. But the Desire to be terrified is as much part of Human Nature as the need to Laugh (“The Gothic Novel” Brendan Hennessy Pg 324).
feeling : The word ʻ heimlich ’ is not unambiguous , but belongs to two sets of idea ,which, without being contradictory , are yet very different: on the one hand it means what is familiar and agreeable , and on the other, what is concealed and kept out of sight … everything is unheimlich that out to have remained secret and hidden out has come to out . 57 When speaking about psychology in gothic literature, it is essential to mention Edgar Allan Poe (1809-1849) , the American innovative gothic writer of the nineteenth century. Poe’s contribution to the gothic genre is majestic. His internal analysis of the psychology of fear in his characters in The Fall of the House of Users (1839); The Black Cat (1843) and others narratives, opened out the gothic to the exploration of mental collapse . Poe was interested in madness, detective stories, and has perceived themes like death and decay.58 A new innovation to the gothic that appears in the mid-nineteenth century is the Sensation novels.
Unsurprisingly, vampires, werewolves, monsters, demons, femmes fatales, or the Devil himself, inter alia, portray the main characters within the Gothic story, causing inexplicable events. Especially ghosts are traditionally believed to depict the spirit of deceased persons, haunting places as well as characters and contributing to the creation of the terrifying and suspenseful ambiance. Apart from supernatural beings, tyrants, villains, persecuted maidens, mad women and maniacs are represented as main characters of the novels. Thus, as Catherine Spooner and Emma McEvoy reinforce, “Gothic novels could be easily identified by their incorporation of dominant tropes such as imperilled heroines, dastardly villains, ineffectual heroes, supernatural events,
Therefore, it gives the readers a sense of fear as the narrator enters into the old man’s bedroom silently to murder him because the phrase is often linked with spookiness or old houses. Thus, the readers are placed into a ‘horror’ field of mind together with suspense because the readers are unsure whether the old man would wake up or
Death has always been one of the most essential elements in weird fiction. It brings the dark and creepy atmosphere in the story which creates the attraction of the tale. There are varied types of death used in literature; in “The Night Wire” by H. F. Arnold, Morgan died in such a mysterious manner that readers can hardly explain what really happened, whereas the deaths of Mrs. De Ropp in “Sredni Vashtar” by H. H. Munroe and both characters in Hugh Walpole’s “The Tarn” are more obvious. From my point of view, “The Night Wire” uses the death most effectively to disturb the reader because of the inexplicable reason behind Morgan’s death. In “Sredni Vashtar”, Conradin was oppressed by Mrs. De Ropp for a long time “for his good” (53), stressed
The two tend to alternate reality in a way that creates a fantasy, or nightmare for us living in the novels of each genre. To begin, Horror fiction can keep the reader on the edge of their seat, contemplating what is going to happen next. Through the eyes of the reader, suspense can often lead them to indulging themselves into the novel itself. Furthermore, a horror story is not complete without an individual losing their life, specifically in a graphic way. The graphic portion in horror novels is the most essential part of the story.
The tendency towards more complete and psychologically complex ghosts started to become evident in the 1840s, with Wuthering Heights providing the most famous example of a deliberate ambiguity in the figure of the ghost. The apparition of the child Cathy that Lockwood encounters at the beginning of the novel is presumably a spectral illustration of a fragment of the adult Cathy’s personality. the ghosts of Cathy and Heathcliff rumored to walk the moors together might represent an echo of their previous life as well as a final union of souls beyond the grave; the reader is denied the knowledge of which, an illustration of the violently selfish exclusivity of the bond between the two as well as of the metaphysical boundary between life and death. The novel’s suggestion, however, leans towards the pre-Victorian presentation of ghostly existence as a compromise, an intermediate ground between this life and the next for those who do not belong in either. ‘Do you believe such people are happy in the next world, sir?’ Nelly asks Lockwood of Catherine’s death, having already related Catherine’s dream of being cast out of the heaven which ‘did not seem to be her home’, only to wake, ‘sobbing for joy’, on the heath above Wuthering Heights (202, 120-1).