The symbols from “The Fall of the House of Usher," written by Edgar Allan Poe, and “Young Goodman Brown,” written by Nathaniel Hawthorne, sought to use Dark Romanticism to illuminate the mixture of good and evil in human nature. Dark Romanticism is a form of writing that consists of human nature, sins, death, and an abundance of evil to create fearful images that toy with the emotions of its readers. Edgar Allan Poe, a professional at creating such stories, used symbols within his stories to further his Gothic Romantic theme. In the short story, “The Fall of the House of Usher,” Poe wrote, “I know not how it was – but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was
Have you ever read a story that causes chills or your emotionally invested in a character. The story’s Frankenstein by Mary Shelley and The mysteries of udolpho by Ann Radcliffe are literature that are centered in fear. These story’s cause suspense or has ghost or some type of monster. A gothic is a great example of fear in literature. The settings, characters, and story line has a way of making the reader invested by hooking to their emotions.
In Robert Stevenson’s novella ‘The Strange Case of Dr Jekyll and Mr Hyde’, Dr Jekyll transforms from the handsome “well-made” scientist into the devilish, sinful and villainous Mr Hyde. Similarly, in William Shakespeare’s tragedy ‘Macbeth’, Macbeth transforms from a patriotic hero into a malevolent tyrant. By comparing the thoughts, intentions and actions within the protagonists’ behaviour, it is clear that both Stevenson and Shakespeare present the theme of change from good to evil within their stories. At the start of ‘Macbeth’, Macbeth is presented as a valiant, noble character, but Shakespeare uses varied language to foreshadow his downfall.
“Whenever the creation order is inverted, there is disorder, destruction, and death. When we tamper with this order, even a little, we become life-takers rather than life-givers”(J. Ligon Duncan III ). This quote plays a large part in the overall literature that is Frankenstein; it pulls together the attributes of the story in a way I haven’t seen before. This essay will be focusing on the relationship between the gothic novel of Frankenstein, and the greek myth of Prometheus. It will be a compare and contrast of the dueling stories.
The gothic literature possesses its own typical features. For instance, the horrible atmosphere, the existence of supernatural, the contradictions of characters, the complicated conflicts of morality and evilness. Chapter 2 The Fundamental Tone of the Gothic Elements in Frankenstein-- The Gothic Aesthetics
This affected his composition and actually, the English Gothic novel began with his 'Gothic story '; 'The Castle of Otranto '. Fundamentally, a Gothic novel is said to incorporate sorcery, riddle, heavenly, uncanny and tension. The interpretation of a Gothic novel contrasts from reader to reader. A Gothic work is to have a unquestionable mixing of remote setting, destroyed strongholds, dilapidated houses, mazes, cells, dull halls, cellar, moonlight, candles, winding stairs, fierce interests, inbreeding, odd fixation, and condemnations. This sort makes sentiments of agony, riddle, dread, tension since their point is to investigate humankind 's dull side and question humanity about what is great and underhandedness, address what part the powerful shows, and experience dread or fear.
The monster is a novel that tries to provide answers to questions that have been able to confuse the author and readers. Published in 1818, the novel is famous for the rich ideas that challenges the mankind’s knowledge and its probability to be used for the good and evil motives, how the uneducated people in the society have been able to be treated over time in the society and in understanding the influence of the advancement in technology have been able to affect mankind. The novel is about Victor Frankenstein, a brilliant scientist who tries to work out the meaning of life. He works in the laboratory and tries to create a creature out of organs of a dead man and manages to create a monster.
Furthermore, Shelley examines the relation that Frankenstein and his monster have towards relevant motifs of Enlightenment such as science, religion, and humanity. To begin with, the era of Enlightenment was characterized by numerous scientific discoveries in Europe. Advances were made in various scientific fields such as astronomy, physics, and mathematics. They caused large controversies which had a deep impact on people’s thinking about God and religion.
Death, darkness, and looming demise. Most Gothic literature begin in a gloomy, decaying setting, associated with the grim image of death, to create distress and anticipation as booklovers inadvertently fall into the poisonous traps woven with cautiousness by the authors. Traditional literature, like Charles Dickens’ ‘Signalman’, does this by beginning with well-produced portrayal, elaborate language use and supernatural indication. In comparison, contemporary literature, like Roald Dahl’s ‘Lamb to the Slaughter’, utilises familiar setting and a range of characters with different personalities. Both genres build inexplicable anxiety within readers as the plot of individual story progresses as they use a variety of description and literary devices.
This unsettling evokes some of the key features of the Gothic, such as the use of phantasmagoria, transgression, and excesses, all of which disturbed the reader by surrounding them with dark reflections of a reality portrayed through fiction. Pacts with the devil to obtain one’s desires, monks and aristocrats who revel in luxury — even if this means they must stain their hands with blood —, vampires and mad scientists: all corrupt one’s morals, all corrupt the false appearance of serenity. Likewise, the female vampires who torment Jonathan Harker disturb the harmony of the domestic sphere and unsettle the delicate balance between the private and the public domain. These vampiric women are marked by heightened sensuality and tacked to other fatal women that permeate art and European literature at the end of the nineteenth century. In this novel, fear and desire are often confused, a clue modern anxieties surrounding desire toward sensuous but degrading bodies.